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Authors
Abstract(s)
A linguagem cinematográfica tem marcas e características evidentes e pré-estabelecidas, mas quando analisamos a prática found footage e consequentemente os filmes de apropriação que desta metodologia resultam, verificamos não só as transformações a nível da textualidade audiovisual, mas também as implicações éticas e, ou deontológicas.
Neste sentido analisamos a introdução de material found footage e de arquivo, na concetualização de documentários e as respetivas formas de apropriação, quanto aos gestos de montagem que determinam leituras extratextuais dos conteúdos audiovisuais manipulados e recontextualizados.
A dimensão desta temática recai tanto sobre o processo fílmico e a intenção autoral do cineasta quanto sobre a relação de apropriação e leitura que o espectador faz sobre os documentários realizados a partir de material arquivo e, ou found footage.
Cinema has a specific and unique language that has its own guidelines but when it comes to analyze the found footage practice and the appropriation films, we can identify not only the audiovisual textual transformations, but also their ethical and deontological implications. With this academic work, our purpose is to investigate how found footage is used to make documentary films as we will try to unveil the acts of appropriation and the montage characteristics associated with this creative process. This dissertation debates the filmic method and the filmmaker's attitudes upon the found shots and sounds, as the appropriation, reading and comprehension that the spectator reveals about the seen documentaries made of archive and/or with found footage.
Cinema has a specific and unique language that has its own guidelines but when it comes to analyze the found footage practice and the appropriation films, we can identify not only the audiovisual textual transformations, but also their ethical and deontological implications. With this academic work, our purpose is to investigate how found footage is used to make documentary films as we will try to unveil the acts of appropriation and the montage characteristics associated with this creative process. This dissertation debates the filmic method and the filmmaker's attitudes upon the found shots and sounds, as the appropriation, reading and comprehension that the spectator reveals about the seen documentaries made of archive and/or with found footage.
Description
Keywords
Apropriação Arquivo Documentário Found Footage Linguagem cinematográfica Appropriation Archive Documentary Cinematographic language