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AESTHETIC INTERFERENCE: TECHNICAL NARRATIVE IN STOP MOTION ANIMATION

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Eliane Gordeeff
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Este artigo tem por objetivo analisar o curta-metragem de animação canadense, O velho e o mar (Alexander Petrov, 1999), como um estudo de como a materialidade do stop motion pode ser utilizada para representar e fornecer informações não objetivas ao público. Para tanto, são considerados as características da pintura, enquanto técnica, o conceito de imagem-tempo, e a simulação inerente ao ato de animar. Como um texto original de 2010, este trabalho é apre sentado como uma comemoração aos 20 anos de estreia da animação, além de também ser uma forma de reconhecimento ao ex-professor da UFF, Antônio Moreno, de quem a autora foi aluna, e que é homenageado na edição desta revista. PALAVRAS-CHAVE stop motion, estética animada, pintura sobre vidro, meta-corpus; coerência die gética. ABSTRACT This article aims to analyze the Canadian animated short film The old man and the s ea (Alexander Petrov, 1999) as a study of how stop motion materiality can be us ed to represent and provide non-objective information to the public. Therefore, the characteristics of painting as a technique, the concept of image-time, and the simulation inherent to the act of animating are considered. As an original text of 2010, this work is presented as a commemoration of the 20th anniversary of the premiere of animation, as well as being a way of recognition to former profe ssor of UFF,
Eliane Gordeeff
added a research item
O objetivo deste texto é apresentar os reflexos culturais em uma obra de animação. O recorte é o curta-metragem De Janela pro Cinema, de 1999, do animador brasileiro Quiá Rodrigues. Ao se valer do próprio cinema como referencial, De Janela pro Cinema é um filme metalinguístico. A forma como as pequenas narrativas são apresentadas lembra os roteiros de Short Cuts — Cenas da Vida (Robert Altman, 1993) e de Janela Indiscreta (Alfred Hitchcock, 1954). Mas apesar das referências estrangeiras, não se descaracteriza a sua brasilidade. Norteado principalmente pelos estudos de Jacques Aumont e de Oswald de Andrade, este trabalho analisa a animação como um reflexo de sua época, resultado de um trabalho autoral, mas impregnado de manifestações culturais, pictóricas, simbólicas e narrativas. Este texto é uma adaptação de parte de uma dissertação de Mestrado em Artes Visuais, da Escola de Belas Artes da Universidade Federal do Rio de Janeiro (UFRJ), de 2011. O tema também foi apresentado e publicado nas atas do CSO’2011 — Criadores sobre outras Obras e na revista Estúdio, vol. 2, n. 3 (pp. 183-190), ambos ligados à Faculdade de Belas-Artes da Universidade de Lisboa, com o título “O reflexo cultural na estética da animação: a imagem animada em De Janela pro Cinema”. Também foi editado em inglês no livro Aesthetic Interferences: The Stop Motion Technique in the Animation Narrative (Gordeeff, E., 2018).
Eliane Gordeeff
added a research item
In this paper The Arte of Animation is analised in comparison to other artistics expressions and taking into account the digital current issues. This text is part of a master's research: Aesthetic Interference, at Federal University of Rio de Janeiro, and finished in 2011.
Eliane Gordeeff
added 7 research items
The wealth of possibilities to construct imagery and consequently, aesthetic, are almost unquantifiable in the animation field – only in the techniques of animation, it is possible to classify more than 10 varieties: drawing on paper, drawing on film, painting on glass, rotoscoping, sand animation, with puppets, with objects with clay, with people, with pins and digital versions (2D and 3D). In the case of Stop-motion animation, the very diversity of materials used in their productions, result in the construction of a deep and complex image both visually (with textures, contrasts and depths) and in terms of meanings and representations – works of czech animator Jan Svankmajer are striking examples. Besides this materiality, inherent in the act of encouraging, one must also consider that in the construction of the characters and diegetic worlds of their stories, the animator uses not only the technicalities of the codes but also cinematic codes – montage, camera, light and color – the visual construction of their messages – narratives or non narratives. In the first case are similar to live action movies and also use of narrative codes. In the second, resemble kaleidoscopic controlled by the animator – but thrill, surprise, and instigate the public’s eye, always voyeur. But regardless of these issues, the animated image is invariably the result of simulation of motion. They are inanimate objects, or scratch paper, which are presented sequentially seen live, laugh, suffer and move. This “falsity” often conveys an impression of reality – especially with new technology – which broke paradigms arousing other techniques and ways to animate – which have endowed this simulation with an astonishing degree of verisimilitude, creating true simulacra. The art of animation, primarily, is the art of simulation – the movements, the scenarios, the environments and the characters’ own anima.As it can be seen, to look into these ma􀄴ers becomes urgent not only because of the interest that media has shown by this art, but primarily by the need for greater and be􀄴er understanding of this as a means of expression.
This dissertation proposes an analytical view on artistic expression rarely addressed in brazilian academic circles: Animation. Considered only a “genre” film, it came before of what is known by “cinema” and is characterized by its technical variety developed over time: Drawing on paper, Stop motion, Pixilation, Rotoscope, 2D and 3D. But even with all the technological advances and the development of its nowadays heavy industry, it still follows the same principles developed by historical figures such as Winson McCay, the Fleischer brothers, Walt Disney, Tex Avery, Norman McLaren and remains the art of giving soul to whom has not one. The objective of this research is to analyze how the technique affects the materiality of visual information complementing and assisting the animation narrative. To that goal, it was developed a case study, in which were selected the following shorts Stop motion animation films: Neighbors (1952, McLaren Norman), From Window to the Cinema (1999, Quiá Rodrigues), The Old Man and the Sea (2000, Alexander Petrov), Adagio (2000, Garri Bardin) and Aria (2001, Pjotr Sapegin). Theses were examined under the concepts of semiotics, the simulacrum, film, narrative, communication theory; and based on information obtained from primary sources and the research office. Thus, it was established how the expression may be presented, by representative and/or symbolic usage of the material (or object) used in the preparation of the image, in producing an animated narrative; and how the aesthetics variety of these ways of animating definitely affects the result of the final work, often visually helping “to tell the story”. Consequently, the study expands the understanding of the aesthetic richness of the Animation – as art, technology end medium of message.
The article presents the cultural reflections embedded in the animation De Janela para o Cinema (1999), by Quiá Rodrigues. Manually working with puppets, and using movie myths like Nosferatu, Charlie Chaplin and Marilyn Monroe, the animator creates a narrative through quotations, allusions and parody. The result is a “very Brazilian” mix in the mold of Oswald de Andrade’s autophagy, with references to “the aesthetics of hunger,” the ‘chanchadas’ and Tropicalia.
Eliane Gordeeff
added 2 research items
Essa entrevista foi feita em 21/09/2009, como parte de uma pesquisa sobre animação Stop motion para a dissertação de mestrado, Interferências Estéticas: a técnica de Stop motion na narrativa de animação, defendida em 2011, na UFRJ. Um dos recortes da pesquisa foi o curta-metragem De Janela pro Cinema, de 1999, direção de Quiá Rodrigues.
Essa entrevista foi feita em 21/09/2009, como parte de uma pesquisa sobre animação Stop motion para a dissertação de mestrado, Interferências Estéticas: a técnica de Stop motion na narrativa de animação, defendida em 2011, na UFRJ. Um dos recortes da pesquisa foi o curta-metragem De Janela pro Cinema, de 1999, direção de Quiá Rodrigues.