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Advisor(s)
Abstract(s)
O cinema de animação tem vindo a tornar-se uma modalidade relativamente
acessível da expressão cinematográfica, sobretudo ao longo das últimas décadas, em que
assistimos a um boom na produção de curtas-metragens independentes. Se, nos seus
primórdios, a produção de cinema de animação estava reservada às grandes produtoras,
existe atualmente uma maior facilidade no acesso não apenas a softwares dedicados à
animação como também a equipamentos (câmaras de alta resolução, computadores
pessoais com grande capacidade de processamento, interfaces de desenho gráfico,
equipamentos de captura de movimento, etc.). Há também um acesso facilitado a
informações e tutoriais de animação disponibilizados através das diversas plataformas
online. Esta maior acessibilidade dos meios e das técnicas tem contribuído para a
crescente popularidade do cinema de animação e para o seu maior relevo no contexto
cinematográfico.
Pela sua própria especificidade visual, o cinema de animação convida-nos, de
um modo especialmente evidente, a suspender a relação com o real, permitindo libertar
o imaginário humano. Ao longo deste ensaio, falaremos da importância do surreal e do
onírico na criação dos mundos narrativos e imagéticos da animação. A partir da análise
de alguns exemplos históricos (desde o cinema clássico da Disney às tendências
experimentais do cinema independente de animação), passando pela referência a alguns
conceitos da psicologia da perceção (como o de “Uncanny Valley”), questionaremos as
formas pelas quais a imaginação e o real se relacionam através da animação, com vista a
uma clarificação da importância da fantasia na animação, mas também da animação na
fantasia.
The animation cinema has been developing to become an approachable way of cinematography expression, mainly in the last few decades, where we experienced a boom in the production of independent animation films. If in its first moments, animation was reserved to big production companies, since they required a considerable amount of equipment and manpower; but, at the moment, there is an easy access not only to the software dedicated to animation production but also to the equipment (high resolution cameras, personal computers with high processing, graphic design interfaces and motion-capture devices, etc.). There is also a free access to information and learning of how to do animation, with tutorials available in every online platform. This free access to equipment and techniques has been one of the main reasons why there is a rise in popularity in animation films and their crescent in cinematography importance. Because of its visual specificity, the animation cinema invites us, in a clearly understandable way, to suspend our relationship with what we think is real, allowing us to tap into the human imagination. Through this article will approach the importance of the surreal and the oneiric in the creation of the narrative worlds of animation. Through an analysis of some historical examples (from classical Disney to experimental tendencies of the independent animation production), going through some psychological concepts of human perception (like the concept of “Uncanny Valley”), we will question the ways the real and the imaginary have a relation with the animation world, with the objective of clarifying the importance of fantasy in animation, but also of animation in fantasy.
The animation cinema has been developing to become an approachable way of cinematography expression, mainly in the last few decades, where we experienced a boom in the production of independent animation films. If in its first moments, animation was reserved to big production companies, since they required a considerable amount of equipment and manpower; but, at the moment, there is an easy access not only to the software dedicated to animation production but also to the equipment (high resolution cameras, personal computers with high processing, graphic design interfaces and motion-capture devices, etc.). There is also a free access to information and learning of how to do animation, with tutorials available in every online platform. This free access to equipment and techniques has been one of the main reasons why there is a rise in popularity in animation films and their crescent in cinematography importance. Because of its visual specificity, the animation cinema invites us, in a clearly understandable way, to suspend our relationship with what we think is real, allowing us to tap into the human imagination. Through this article will approach the importance of the surreal and the oneiric in the creation of the narrative worlds of animation. Through an analysis of some historical examples (from classical Disney to experimental tendencies of the independent animation production), going through some psychological concepts of human perception (like the concept of “Uncanny Valley”), we will question the ways the real and the imaginary have a relation with the animation world, with the objective of clarifying the importance of fantasy in animation, but also of animation in fantasy.
Description
Trabalho de projeto
Keywords
Surrealismo Fantasia Animação Onírico Surrealism Fantasy Animation Oneirism