Artemídia movente: processos e procedimentos artísticos em animação

Pós-graduação em Artes - IA

Métodos analíticos, numéricos e experimentais para o cálculo de ondas de impacto em meios líquidos

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Desenvolvimento de um sistema bidimensional de monitoração da saída de nadadores

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Memória audiovisual da reforma psquiátrica no Brasil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Mátate, mi amigo, mátate!: periferia, marginalização e violência no cinema de Víctor Gaviria

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Efeito do tipo de ferradura e angulação do casco sobre o movimento do membro torácico em equinos ao trote

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Luzes e sombras: Paulo Emilio Salles Gomes e a cultura cinematográfica (1954-59)

Pós-graduação em História - FCLAS

Paralelos do corpo

O objetivo deste trabalho foi à criação de um Curta-Metragem que causasse uma conexão com o espectador de forma mais sensorial e emotiva, amenizando compreensões racionais e lógicas. Para tal propósito foi utilizada uma representação, uma representação imagética de conceitos oriundos da Psicologia Jungiana, do Teatro da Crueldade e dos estudos de mitologia de Joseph Campbell. A computação gráfica foi utilizada na geração de elementos com o intuito de possibilitar a criação de uma simbologia fundamentada nas teorias pesquisadas. A tentativa de representação dos símbolos arquetípicos baseados nos estudos do Jung fundamentou a construção da obra final. Diversas técnicas foram aplicadas na produção do Curta-Metragem, como: Stop-motion, Foto-manipulação, Camera Tracking, Rotoscopia e Animação 3D. O estudo de composição de artistas que tenham a mesma linha temática possibilitou o melhor desenvolvimento da proposta.

A discursivização em Wall.E: sociedade, tecnologia e poder

This article consists in a discourse analysis of the feature film in animation Wall.e produced by Pixar in association to Disney in 2008. Pixar has been known to produce films that contain various discursive levels, making its products appealing not only for children, but also for adults. However, Wall-e proves to be a masterpiece in Pixar carrier, because it is the one which focuses on the analysis and critique of contemporary society associated with technological development. For this, the plot has as its starting point the question of sustainability and unbridled consumerism. But the film expands the debate, tracing the relationship between technology and humanity, discussing how one affects the other. The project therefore aims to show how the animation works such concepts and constructs his discourse. To this end, the work seeks to identify the signs that make up the discourse and draw the intertextuality between WALL.E and other works that also discuss the same elements such as Stanley Kubrick‟s 2001 - A Space Odyssey (1968)

O fantástico em Coraline: uma análise semiótica

The English writer Neil Gaiman has a varied background in various genres of literature and comics. His novel Coraline (2002) was considered a bestseller and received numerous adaptations, including versions for the comics (U.S., 2008, illustrated by P. Craig Russelle) and for a musical off Broadway (USA, 2009). The object of analysis chosen for this research was the adaptation of Coraline for film, Coraline (U.S., 2009), stop motion animation directed by Henry Selick. In the eyes of the general public the film stands out for being an engaging animation. Under a closer look, Coraline becomes a valuable object of study that incorporated the technique of stop motion at the same time that modernized the fantastic genre, usually directed to children and youth, but in that case, reaches many audiences. The objective of this research is to analyze the animation based on theory of origin greimasian, focusing on the narrative that constitutes the fantastic genre in order to infer the regularities of genrer and the specificities of audiovisual product

Valente: o cinema como ferramenta para a discussão sobre gêneros em sala de aula

Este texto pretende analisar o filme de animação Valente, produzido pela Walt Disney Pictures e pela Pixar Animation Studios, em busca de elementos que abordem o tema “gênero” e, assim, utilizá-lo de modo a propor a discussão em sala de aula sobre este mesmo tema, levando em consideração o contexto atual da imagem da mulher e pontos históricos que sejam interessantes ao debate

O estilo do rei: o diálogo entre O Rei Leão, da Disney, e Hamlet, de Shakespeare, sob uma perspectiva semiótica

This work consists of a semiotic analysis of the animation motion picture The Lion King (1994), by the Walt Disney Animation Studios, describing its intertextual relation with Hamlet, by Shakespeare, considering Disney’s individuality, its style. In order to study style in texts, we use discursive semiotics theory, highlighting Discini’s work (2013) and the concept of discursive settings. Hence, a deep discussion about The Lion King’s style, compared to the Shakespeare’s play, is established. The movie, once a syncretic text, requires advanced studies on Expression Plane, its plastic, musical and verbal/phonic aspects. We find these studies in the work of José Luiz Fiorin (2009), Lúcia Teixeira (2009), Ana Claúdia de Oliveira (2009), Jean-Marie Floch (2009) and Antônio Vicente Pietroforte (2008). We note how a syncretic text makes the discursive settings more complex by assembling plastic and sonorous materials in semissimbolic relation. Once defined The Lion King’s style, we analyze the way it justifies the intense popularity of this kind of animation features. Finally, it is important to understand how Disney uses in its style not only discursive settings, but also passional settings, revealing its own way to stir emotions on the spectator

Imagens escritas, letras desenhadas : literatura e cinema em Ilka B. Laurito e João Antônio. -

Pós-graduação em Letras - FCLAS

Estudo das categorias narrativas, variações e permanências nas versões de Basile, Perrault, Grimm e Disney de A Bela Adormecida

Pós-graduação em Estudos Literários - FCLAR

Animação de movimentos em repetição: uma ênfase nas possibilidades do formato GIF

This thesis goes from the origin of the human interest in movement, tracing briefy the history of animation, from your remotest manifestations until the appearence of the GIF format, to address the topic of repetition in movement, stablishing a parallel between this format and primitive devices of animation ehxibition. It is also brought into this project some questions relative to the uses of GIF as meme and as artwork, and the possibilities that the repetition offer in both cases. Through artistic production and empiric research, many techniques were considered adequated to produce an animation that gave the public the sensation of continuity, with the intent to contribute to the development of GIF language. It was also researched the effect of the movement repetition on the espectors, and if these manifestations where different for each person by age and with distinct professions. At the end of the research, was concluded that animation techniques with contrasting visual characteristics were able to give the sensation of continuity, as well as the sensations towards the animations were independent of the social groups that the espectors belongs