Nomadismo sensível: estética do videoclipe e tensionamentos em Stonemilker e Black lake
This research investigates how the music video establishes itself as an hybrid audiovisual genre which moves between in a sort of image’s exhibition and fruition devices, under the spectrum of modern theories about art and imagens and the videoclipe studies in their mediatic context – the universe o...
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| Tipo de documento: | dissertação |
| Estado: | Versão publicada |
| Data de publicação: | 2017 |
| País: | Brasil |
| Recursos: | Universidade Federal do Ceará (UFC) |
| Repositório: | Repositório Institucional da Universidade Federal do Ceará (UFC) |
| Idioma: | português |
| OAI Identifier: | oai:repositorio.ufc.br:riufc/32584 |
| Acesso em linha: | http://www.repositorio.ufc.br/handle/riufc/32584 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Videoclipe Estética Björk Music video Aesthetics |
| Resumo: | This research investigates how the music video establishes itself as an hybrid audiovisual genre which moves between in a sort of image’s exhibition and fruition devices, under the spectrum of modern theories about art and imagens and the videoclipe studies in their mediatic context – the universe of discourses and imagens that determine their historial place in the cultural production. For such proposition, we put in dialogue two music videos from the singer Björk “Black Lake” and “Stonemilker”. From that, we’ll map wich elements constitute the mediatic image of Björk and what sort of implications it has in the aesthetic constitution of the analised works, and the transit of the genre between television, cyberspace and museum spaces. That reflections articulate with the studies about territories and nomadism from Gilles Deleuze and Felix Guattari (2002); Warburg (2015) art, imagem and culture history studies and the moving image sensory in Laura U. Marks (2000); the television studies and mediatic analysis of the music videos proposed by Thiago Soares (2009), Andrew Goodwin (1992) and Arlindo Machado (2000). |
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