From the pensive spectator to pensive image: photo and essay-film
This article aims to reflect on the possible consequences and/or effects by the use of still photography, as composite material, in the making of a essay-film. I assume that the picture’s presence in movie screen is capable of generating a suspension effect on the pace of the film. By this time free...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2017 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/25025 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/25025 |
| Access Level: | acceso abierto |
| Palabra clave: | Essay-film Photography The party and the barking (film) Filme-ensayo fotografía La fiesta y los perros (filme) Cine Filme-ensaio fotografia A festa e os cães (filme) Cinema |
| Sumario: | This article aims to reflect on the possible consequences and/or effects by the use of still photography, as composite material, in the making of a essay-film. I assume that the picture’s presence in movie screen is capable of generating a suspension effect on the pace of the film. By this time freezing is possible that the spectator unfasten, at least in part, the narrative flow and allow yourself to think in cinema. For this perspective, we intend to conduct a filmic analysis of the short film The party and the barking (Leonardo Mouramateus, 2015), to finally propose that the use of the still image in the essay-film, in particular, in addition to strengthening the convocation a “pensive spectator” is able to generate a “pensive image”. |
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