Basic principles for the analysis of the enunciative graphic forms and options in animation
DOI:
https://doi.org/10.35699/2237-5864.2022.37100Keywords:
Image in Animation, Graphical Enunciation in Animation, Animation StudiesAbstract
The specificity of the 'image' in Animation, which exists in different media, is not considered in the texts that seek a comprehensive theory, and the publications that are dedicated to it have an introductory character, by aiming the student who wants to learn how to do. This essay intends to share observations, made through the confrontation with different occurrences, hoping to contribute to the construction of a coherent and systematic model about the fundamental elements and processes of graphic enunciation of the content of each frame in the animated sequence.
References
BENVENISTE, Emile. Problèmes de linguistique générale. Paris: Gallimard, 1974. v. 2.
BONITZER, Pascal. Peinture et cinéma: décadrages. Paris: Cahiers du cinema, 1985.
GIBSON, James J. The perception of the visual world. Boston: Houghton Mifflin, 1950.
GRAÇA, Marina E. Cinematic motion by hand. Animation Studies, n. 1, p. 1-7, 2006a, Disponível em: <https://journal.animationstudies.org/marina-estela-graca-cinematic-motion-by-hand/>. Acesso em: 19 set. 2021.
GRAÇA, Marina E. Entre o olhar e o gesto: elementos para uma poética da imagem animada. São Paulo: Editora SENAC, 2006b.
GRAÇA, Marina E. Handmade films: questioning and integrating cinematic technology. The International Journal of the Humanities, v. 3, n. 3, p. 101-106, 2005. Disponível em: <https://doi.org/10.18848/1447-9508/CGP/v03i03/41582>. Acesso em: 19 set. 2021.
GRIFFIN, Georges. Concrete Animation. Animation – An Interdisciplinary Journal, v. 2, n. 3, p. 259-274, nov. 2007. Disponível em: <https://doi.org/10.1177/1746847707083421>. Acesso em: 19 set.2021.
GROBAR, Matt. ‘Boy & The World’ Directing Team on Discouraging Current Trends en Animation. Deadline, 20 fev. 2016. Disponível em <http://deadline.com/2016/02/oscars-boy-and-the-worldale-abreu-priscilla-kellen-best-animated-feature-interview-1201701131/>. Acesso em: 19 set. 2021.
JONES, Chuck. Chuck Amuck: the Life and Times of an Animated Cartoonist. New York: Avon Books, 1990 [1989].
JOUBERT-LAURENCIN, H. La lettre volante: quatre essais sur le cinéma d'animation. Paris: Presses Sorbonne Nouvelle, 1997.
KAMEN, Matt. Studio Ghibli's Isao Takahata on animating his final film. Wired, 2015. Disponível em <http://www.wired.co.uk/article/isao-takahata-interview>. Acesso em: 19 set. 2021.
LATOUR, Bruno. Actor-network theory and after. Oxford: Blakcwell Publishers, 1999.
LEYDA, Jan. Eisenstein on Disney. Calcutta: Seagull Books, 1986.
MASSIRONI, Manfredo. Ver pelo desenho: Aspectos técnicos, cognitivos, comunicativos. Lisboa: Edições 70, 1989 [1982].
MCLAREN, Norman. Rencontre Internationale du Cinema d’Animation. Cinema 57 Magazine, n. 14, p. 12, 1956.
MITCHELL, William JT. Showing seeing: a critique of visual culture. Journal of visual culture, v.1, n.2, p. 165-181, 2002.
ROSE, Gillian. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. London: Sage, 2001.
SIFIANOS, Georges. The definition of Animation: a letter from Norman McLaren. Animation Journal, v. 3, n. 2, Spring 1995.
THE MAKING of RIDE. Direção: Paul Bush. Portugal, 2018. Vimeo (8min). Disponível em: <https://vimeo.com/285806507>. Acesso em: 23 mar. 2022.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Marina Estela Graça
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the a Creative Commons Attribution-NonCommercial 4.0 International License that permits sharing of the work with acknowledgement of authorship and initial publication in this journal;
- Authors are permitted to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (e.g., the Creative Commons Attribution License).
- Authors are permitted and encouraged to publish and distribute their work online (e.g., in institutional repositories or on their home page) at any point before or during the editorial process, as this may generate productive changes as well as increase the impact and citation of the published work.
- It is the responsibility of the authors to obtain written permission to use in their articles materials protected by copyright law. Revista PÓS is not responsible for copyright breaches made by its contributors.
| 
