Poetics of the intervals
3D animation at its extremes
DOI:
https://doi.org/10.35699/2237-5864.2021.32943Keywords:
3D Animation, Cinema, Extremity, RealismAbstract
The 3D animation commercial image updates and reinforces cinematographic communication contracts, based on its hyper-realistic synthesis capabilities. The aim of this study is to unveil procedures that are cast on the margins of the main productive stream, in order to deconstruct the illusionism inherent to technical images, granting visual materiality to the underlying computational processes. The “extremity approach”, developed by Christine Mello, is used as a reading vector for the movies listed in this article, in order to locate their limit zones regarding artistic tension, conferring plurality to the aesthetic field and expanding the artistic possibilities of machinic dialogue.
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