Publicação
For a sensory and affective exploration of reality: sketches on the haptic dimension of contemporary cinema
| Resumo: | This paper aims to investigate the haptic dimension (both, visual and sound) which is present in the called “flow cinema”, transnational strand of cinema of the past two decades, marked by the emergence of a sensory realism. This is a cinema that the narrative is modeled on ambiance and an audiovisual experience driven by the overvaluation of a multilinear dispersive and sensuousness, magnified by the presence of a complex sound design. Our approach will focus on two aspects: on one hand, the concept of sensory realism within the panorama of contemporary cinema; the other, the manifestations of a more tactile than optical (Marks, 2000; Bruno, 2010) haptic visuality and a haptic listening, able to install a state of ambiguity in sound perception (Marks, 2000) in the construction of narrative films the “flow cinema”. These concepts will be applied in the analysis of works of filmmakers like Naomi Kawase, Claire Denis, Hou Hsiao Apichtatpong Weerasethakul and Hsien. |
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| Autores principais: | Vieira Jr, Erly |
| Assunto: | Contemporary cinema Sensory realism Haptic visuality Cinema Cine contemporáneo Realismo sensorio Visualidad háptica Cine Cinema contemporâneo Realismo sensório Visualidade háptica Cinema |
| Ano: | 2015 |
| País: | Brasil |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | IBICT |
| Idioma: | português |
| Origem: | Oasisbr |
| Resumo: | This paper aims to investigate the haptic dimension (both, visual and sound) which is present in the called “flow cinema”, transnational strand of cinema of the past two decades, marked by the emergence of a sensory realism. This is a cinema that the narrative is modeled on ambiance and an audiovisual experience driven by the overvaluation of a multilinear dispersive and sensuousness, magnified by the presence of a complex sound design. Our approach will focus on two aspects: on one hand, the concept of sensory realism within the panorama of contemporary cinema; the other, the manifestations of a more tactile than optical (Marks, 2000; Bruno, 2010) haptic visuality and a haptic listening, able to install a state of ambiguity in sound perception (Marks, 2000) in the construction of narrative films the “flow cinema”. These concepts will be applied in the analysis of works of filmmakers like Naomi Kawase, Claire Denis, Hou Hsiao Apichtatpong Weerasethakul and Hsien. |
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