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O espaço do ir e o espaço do estar: a perceção da experiência cinematográfica
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Advisor(s)
Abstract(s)
Esta investigação tem como ponto de partida o oximoro conforto desconfortável. Pretende compreender a perceção cinematográfica a luz das ideias de conforto e desconforto, visando esclarecer alguns aspetos da perceção sensorial na arte.
Para esse efeito, foram estudadas possíveis alterações espaciotemporais na imagem em movimento e como as mesmas afetam a receção de determinada obra. Foi também feita uma análise sobre o cinema de arte e os seus possíveis significados, bem como a distinção entre uma complexidade intelectual dada pela independência autoral e as emoções fabricadas pela indústria do entretenimento.
Partiu-se do conceito de cinema do desconforto, tal como proposto por Geoff King na obra The Cinema of Discomfort (2021), para analisar as reflexões de diversos autores, assim como diversos momentos da história do cinema. Num primeiro momento é feita uma análise da definição e entendimento dos ideais de conforto e desconforto ao longo do tempo, sobretudo desde o início do século XIX. Num segundo momento são analisados os conceitos de tempo e de espaço na imagem em movimento, através da referência a alguns filmes.
Os resultados não pretendem dar uma resposta definitiva as questões que se colocam ao longo da investigação, mas antes permitir uma reflexão crítica sobre os temas abordados. É possível afirmar que, apesar da perceção se tratar de um assunto subjetivo, dependente da experiência pessoal de cada indivíduo e do seu contexto envolvente, artes como o cinema parecem apontar para algumas sensações comuns no público geral que, por sua vez, possibilitam a reflexão feita neste texto.
Partindo desta investigação é possível identificar caminhos emergentes, alguns já em prática consolidada no cinema, como é o caso da arte generativa e do uso de inteligência artificial, que nos levam a pensar sobre qual poderá ser o significado de Cinema Experimental na atualidade.
This research takes as its starting point the oxymoron uncomfortable comfort. lt aims to understand cinematic perception in light of the ideas of comfort and discomfort, seeking to clarify certain aspects of sensory perception in art. To this end, possible spatio-temporal alterations in the moving image were studied, along with how these alterations affect the reception of a given work. An analysis was also made of art cinema and its possible meanings, as well as the distinction between intellectual complexity given by authorial independence and the emotions manufactured by the entertainment industry. The starting point was the concept of cinema of discomfort, as proposed by Geoff King in The Cinema ofDiscomfort (2021), to analyse the reflections of various authors, as well as various moments in the history of cinema. First, an analysis is made of the definition and understanding of the ideals of comfort and discomfort over time, especially since the beginning of the l9th century. Second, the concepts of time and space in the moving image are analyzed, specifically concerning certain films. The results do not aim to provide a definitive answer to the questions raised throughout the research, but rather to allow for critical reflection on the topics addressed. It can be said that, although perception is a subjective matter, dependent on each individual's personal experience and surrounding context, arts such as cinema seem to point to some common sensations in the general public, which, in turn, enable the reflection made in this text. Based on this research, it is possible to identify emerging paths, some of which are already established practices in cinema, such as generative art and the use of artificial intelligence, which lead us to consider what the meaning of Experimental Cinema might be today.
This research takes as its starting point the oxymoron uncomfortable comfort. lt aims to understand cinematic perception in light of the ideas of comfort and discomfort, seeking to clarify certain aspects of sensory perception in art. To this end, possible spatio-temporal alterations in the moving image were studied, along with how these alterations affect the reception of a given work. An analysis was also made of art cinema and its possible meanings, as well as the distinction between intellectual complexity given by authorial independence and the emotions manufactured by the entertainment industry. The starting point was the concept of cinema of discomfort, as proposed by Geoff King in The Cinema ofDiscomfort (2021), to analyse the reflections of various authors, as well as various moments in the history of cinema. First, an analysis is made of the definition and understanding of the ideals of comfort and discomfort over time, especially since the beginning of the l9th century. Second, the concepts of time and space in the moving image are analyzed, specifically concerning certain films. The results do not aim to provide a definitive answer to the questions raised throughout the research, but rather to allow for critical reflection on the topics addressed. It can be said that, although perception is a subjective matter, dependent on each individual's personal experience and surrounding context, arts such as cinema seem to point to some common sensations in the general public, which, in turn, enable the reflection made in this text. Based on this research, it is possible to identify emerging paths, some of which are already established practices in cinema, such as generative art and the use of artificial intelligence, which lead us to consider what the meaning of Experimental Cinema might be today.
Description
Dissertação de mestrado
Keywords
Cinema experimental Desconforto Espaciotemporal Perceção sensorial Experimental Cinema Discomfort Sensory perception