A sinestesia como dimensão na poética e na estética cinematográfica
Miniatura indisponível
Data
2011
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Resumo
O filme, na indissociabilidade da sua natureza dual, de arte e técnica, corporiza de forma
ímpar, na história geral do desenvolvimento técnico-artístico de toda a modernidade, um
ponto de intersecção único de fenómenos artísticos, culturais e científicos. O conceito de
sinestesia serve-nos de referente conceptual para a concepção de um modelo de síntese
sensorial e cognitiva, a partir do qual procuramos observar os termos em que o filme,
enquanto obra artística cinematográfica, se configurou no lugar da mais extraordinária
correlação de sínteses poéticas e estéticas, respectivamente, as relacionadas ao desempenho
criativo da concepção cinematográfica, e as concernentes ao desempenho perceptivo da
recepção espectatorial. As características desta correlação de sínteses, reconhecidas como
inerentes à experiência cinematográfica, são o que nos permite afirmar que, ver cinema é, na
verdade, experienciar cinema.
The film in the indivisibility of its dual nature of art and technology embodies in a unique way, in the general history of the technical-artistical development of all modernity, a singular point of intersection of artistic, cultural and scientific phenomena. The concept of synesthesia serves us as a conceptual referent for the conception of a model of sensory and cognitive synthesis from which we try to observed the terms under which the film, as cinematographic artistic work, becomes the place of the most extraordinary correlation of poetics and aesthetics synthesis, respectively, the ones related to the creative performance of the cinematographic conception, and those concerning the perceptive performance of the espectatorial reception. The characteristics of this correlation of synthesis, recognized inherent to the cinematographic experience, are what allows us to state that watching movies is actually experiencing movies.
The film in the indivisibility of its dual nature of art and technology embodies in a unique way, in the general history of the technical-artistical development of all modernity, a singular point of intersection of artistic, cultural and scientific phenomena. The concept of synesthesia serves us as a conceptual referent for the conception of a model of sensory and cognitive synthesis from which we try to observed the terms under which the film, as cinematographic artistic work, becomes the place of the most extraordinary correlation of poetics and aesthetics synthesis, respectively, the ones related to the creative performance of the cinematographic conception, and those concerning the perceptive performance of the espectatorial reception. The characteristics of this correlation of synthesis, recognized inherent to the cinematographic experience, are what allows us to state that watching movies is actually experiencing movies.
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Orientação: Manuel José Damásio
Palavras-chave
CINEMA, SINESTESIA, ESTÉTICA CINEMATOGRÁFICA, CINEMA, SYNESTHESIA, ESTHETICS, MESTRADO EM ESTUDOS CINEMATOGRÁFICOS, AUDIOVISUAL, AUDIOVISUAL