Animação 3D nas extremidades: realismo tensionado - história, teoria e crítica da animação de síntese no século XXI

• Ano de defesa: 2022
• Autor(a) principal: Nogueira, Carlos Eduardo da Silva
• Orientador(a): Mello, Christine Pires Nelson de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Comunicação e Semiótica
• Departamento: Faculdade de Filosofia, Comunicação, Letras e Artes
• País: Brasil
• Palavras-chave em Português: Animação 3D; Cinema; Artes; Extremidades; Realismo
• Palavras-chave em Inglês: 3D animation; Cinema; Arts; Extremities; Realism
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://repositorio.pucsp.br/jspui/handle/handle/27249

This research aims to develop the concept of Tensioned Realism, a group of experimental artistic procedures that are on the fringes of the main production flow of 3D animation. It presents a multidisciplinary work between the fields of communication, art and cinema. The corpus of this research intends to exemplify the concepts formulated and comprises several 3D animation films selected from cinema festivals, internet and television. This demand is justified by the fact that the 3D animation image inherits centuries-old procedures that aim to provide objectivity to the image, shifting the artist's position in the production process, which is often at the mercy of determinisms present in the device, on behalf of a type of image that is in accordance with a predetermined machinic fate, represented by the hegemonic market image. Our intention is to make it possible to see ways to detach the production of 3D animation from this predetermined fate, challenging subjectivities, expanding imaginaries and entering the space of art. The hypothesis is that this process involves the understanding of the ideology present in the device and the challenge of its modes of subjectivation. Thus, the realism present in these images is understood as the ultimate fate of the objectivity historically promoted by technical images and, therefore, its tensioning taken as a line of escape from the device’s determinisms. This work is informed by such questions as: 1) What is the singularity space in an increasingly automated system aimed to produce marketable images? 2) How is it possible to displace the subject in his relationship with the machine in order to make visible images that escape the machinic determination? 3) How can new imaginaries break with the general environment of 3D animation consumption and production? To answer these questions, we initially sought to achieve a general understanding of 3D animation in terms of its historical and theoretical status and its general environment of circulation and consumption, by examining such authors as Arlindo Machado, Lev Manovich, Edmond Couchot and Phillipe Dubois. To develop the critical concepts of contemporary 3D animation, the research was conducted with such authors as Vilém Flusser, Félix Guattari, Jacques Rancière, Cesar Baio and Suely Rolnik. The methodology for the analysis of the corpus and the general conceptualization of the artistic procedures were based on Christine Mello’s extremities approach, in which vectors of interpretation are articulated in order to allow the works to be examined based on their qualities of deconstruction, contamination and sharing. The result achieved in this investigation is the conceptualization of a set of artistic procedures that address the emergence of particular aesthetics that deconstruct the illusionism of technical images, provide visual materiality to the underlying computational processes, value the error and the operational limits of communicational contracts of 3D animation, as well as allow contamination from other languages and media. Finally, they seek to reveal other ways through which 3D animation occupy a place in contemporaneity, expanding what can be understood as 3D animation in the 21st centuryT