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Imagem-movimento, imagens de tempo e os afetos "Alegres" no filme "O Triunfo da Vontade", de Leni Riefenstahl: um estudo de sociologia e cinema.; Movement-image, time images and "Joyful Affects" in Leni Riefenstahl's motion picture Triumph of the Will: a study in sociology and cinema.

Rovai, Mauro Luiz
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 18/09/2001 PT
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A tese analisa o filme O Triunfo da Vontade, de Leni Riefenstahl, a partir das imagens clichês de alegria e felicidade nele presentes. O que se pretende mostrar é "como" a cineasta utiliza exaustivamente imagens do que é considerado espetacular, extraordinário, harmônico, alegre e feliz. Procedimento que contribuiu, em grande medida, para a divulgação (propagação) do nazismo, é certo, mas também, e principalmente, para realizar um conto de fadas em que um "príncipe" vem desposar a sua "escolhida", adormecida sob as nuvens do céu de Nuremberg, celebrando, assim, um mito redentor que prolifera de maneiras multifacetadas em diversas culturas. Além disso, mais do que entender a obra como propaganda, a hipótese central é que Leni Riefenstahl conseguiu transformar lugares cotidianos, pessoas comuns e grandes construções arquitetônicas em personagens de uma epopéia, coadjuvantes ou parceiras do grande protagonista da tela: Hitler, um líder político tornado ator - no papel de herói. Nesses termos, o que se quer privilegiar são os aspectos estéticos do trabalho da diretora, trajetória já trilhada por Susan Sontag na década de 70. Todavia, ao invés de fazê-lo tomando a cineasta como a precursora de uma determinada maneira de glorificar o corpo...

Corpo joystick : cinema, videogames e estilo de vida ativo; Joystick body : movies, video games and active living lifestyle

Finco, Mateus David; Fraga, Alex Branco
Fonte: Universidade Federal do Rio Grande do Sul Publicador: Universidade Federal do Rio Grande do Sul
Tipo: Artigo de Revista Científica Formato: application/pdf
POR
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Este ensaio trata do processo de inserção do videogame na cultura contemporânea, enfatizando as mudanças na interação humano máquina produzidas pelas diferentes gerações de jogos eletrônicos. O texto está dividido tem três grandes partes: (1) a primeira trata dos "suspenses de abdução virtual", uma série de filmes produzidos nos anos 1980 com enredo na linha “corpos reais transportados para dentro dos jogos virtuais”; (2) a segunda mostra o processo de incorporação da movimentação corporal aos consoles que leva ao surgimento dos exergames nos anos 1990; (3) e a terceira apresenta o jogo Wii Fit da Nintendo como um dos dispositivos eletrônicos mais bem sucedidos no processo de transformação dos exergames em produto de uso doméstico com vistas à introjeção de um estilo de vida ativo.; This essay deals with the process of the presence of videogame in the contemporary culture, emphasizing the changes in human-machine interaction produced by the different generations of electronic games. The text is divided into three major parts: the first (1) is "virtual abduction thrillers," a series of films produced in the 1980s with the main a plotlines centered around "real bodies being transported into the virtual games"...

A via imagetica e onirica na construçao de um corpo inteiro; Oneiric imagery via the construction of a whole body

Adriana de Sousa Ferreira
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 11/03/2014 PT
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85.66%
A tese tem como hipotese uma possivel e necessaria construçao de uma interconexao entre duas midias de narrativas imageticas, objetivando colocar o corpo como tradutor da realidade humana subjetiva e dar visibilidade para a imaginaçao atraves do caminho da arte, que abre historicamente trilhas para expressar a vida interior,possiveis atraves de interfaces operacionais com a materia,no caso o proprio corpo.; The text is a search for interconexion in between two mediatic imagetic narratives,focusing in placing the human body as the translator of the human subjective reality.In order to make visible the human imagination through the art way, wich opens so many trials to express inner life,wich is possible only bonding with matrter, in here the human body iteself.

Subjective time perception is affected by different durations of exposure to abstract paintings that represent human movement

Nather,Francisco Carlos; Fernandes,Paola Alarcon Monteiro; Bueno,José Lino Oliveira
Fonte: Pontificia Universidade Católica do Rio de Janeiro; Universidade de Brasília; Universidade de São Paulo Publicador: Pontificia Universidade Católica do Rio de Janeiro; Universidade de Brasília; Universidade de São Paulo
Tipo: Artigo de Revista Científica Formato: text/html
Publicado em 01/12/2014 EN
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Time perception can be affected by real emotional pictures of people that evoke different levels of arousal. Figurative artwork images of body postures that imply movement with different intensities and evoke different levels of arousal can modulate the perception of time. The present study investigated whether abstract paintings that represent motion in different ways affect the perception of time when subjects are exposed to the paintings for different durations. Undergraduate students observed 20 abstract paintings from different artistic schools (i.e., cubism, constructivism, expressionism, and futurism). They observed for 3 s each painting and estimated the time of exposure (reproduction method). After the time estimations, the subjects completed different semantic Movement, Arousal, Complexity, and Recognition scales to obtain information about how the painting compositions were perceived. Time distortions were observed for only two cubist paintings that represented human forms, which were related to both evoked arousal and implied movement (Experiment 1). Experiment 2 further verified whether these time distortions were related to implied movement perception or arousal. Different groups of participants were exposed for 3 and 9 s to only four cubist paintings that represented human forms. These time exposures (3 and 9 s) were used because the arousal-evoking effects may be transient for exposure times that are longer than 2-3 s. The data analysis revealed overestimation of time for the cubist painting that had greater arousal and movement scores only when the subjects were exposed for 9 s...

From body form to biological motion: Apparent velocity of human movement biases subjective time

Orgs, Guido; Bestmann, Sven; Schuur, Friederike; Haggard, Patrick
Fonte: PubMed Publicador: PubMed
Tipo: Artigo de Revista Científica
EN
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Two experiments investigated time perception during apparent biological motion. Pictures of initial, intermediate and final positions of a movement were presented, with six inter-stimulus-intervals. Movement path was manipulated by changing sequential order of body postures. Increasing path length produced an increase in perceived movement velocity. As an implicit measure of apparent movement dynamics, we also asked participants to judge the duration of a frame surrounding the stimuli. Longer paths, with higher apparent movement velocity produced shorter perceived durations. This temporal bias was attenuated for non-body (Experiment 1) and inverted-body (Experiment 2) control stimuli. We propose an automatic top-down mechanism of biological motion perception that binds successive body postures into a continuous percept of movement. We show that this mechanism is associated with velocity-dependent temporal compression. Furthermore, this mechanism operates on-line, bridging the intervals between static stimuli, and is specific to configural processing of body form.

Représentation du sexe chez N. Arcan, V. Despentes, M.-S. Labrèche et C. Millet

Krauth, Louise
Fonte: Université de Montréal Publicador: Université de Montréal
Tipo: Thèse ou Mémoire numérique / Electronic Thesis or Dissertation
FR
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35.58%
Depuis la fin des années 1990, une nouvelle génération d’écrivaines s’est emparée des thèmes du corps et de la sexualité. Certaines de leurs œuvres ont fait scandale pour l’impudeur qui les caractériserait, d’autres pour leur violence ou leur appartenance supposée à la pornographie. Si ces textes témoignent de changements profonds au sein de la société, ils attirent également notre attention sur leur inscription manifeste hors des catégories génériques qu’ils semblaient indiquer. Ce mémoire rend compte de la façon dont À ciel ouvert de Nelly Arcan, Baise-moi de Virginie Despentes, La brèche de Marie-Sissi Labrèche, La vie sexuelle de Catherine M. de Catherine Millet et La nouvelle pornographie de Marie Nimier traitent la thématique du corps et du sexe. La politique des corps révèle que les récits d’aujourd’hui expriment, certainement aussi fortement que dans les années 1970, la nécessité de dissoudre et de réinventer les identités sexuées. De plus, une analyse centrée sur la notion de sujet telle qu’elle s’écrit dans la relation du plaisir et du désir montre que le thème sexuel est un moyen pour les auteures d’explorer une réalité qui devient flagrante lorsque les êtres de langage se mettent à habiter leur corps. Enfin...

Confronting the limits: renditions of the real in the edge of the Construct Film Cycle.

Greenwood, Kate
Fonte: Universidade de Adelaide Publicador: Universidade de Adelaide
Tipo: Tese de Doutorado
Publicado em //2008
Relevância na Pesquisa
45.64%
This thesis examines the fragile perimeter that separates an illusory reality from the supposedly more authentic Real it conceals, which forms a key focus of Slavoj Žižek’s work, and in this thesis I offer a study of the relations between this aspect of Žižek’s work and film theory. In particular, this thesis is an elaboration on and interrogation of Žižek’s employment of the Lacanian notion of the Real in critiques of the inadequacy of 1970s and 1980s film theory and its widespread adoption of a Lacanian model of film-spectator relations. By way of illustration, I consider the microgenre of films released between the years 1998 to 2000 that includes the Matrix trilogy, David Fincher’s Fight Club, Peter Weir’s The Truman Show, and Alex Proyas’ Dark City, which are all similarly fascinated by the border between a fake reality and an ostensibly more genuine real. However, I also argue that this cycle of films does more than illustrate a fascination with that which is in excess of signification: this cycle of films equally participates in the reappraisal of this important phase of film theory. This thesis proceeds from a consideration of Žižek’s assertion that Lacanian psychoanalysis is missing from the dominant field of film theory. To assess this claim...