Os modos audio visuais da pintura corporal na contemporaneidade: quatro propostas

• Ano de defesa: 2017
• Autor(a) principal: LIMA, Carolina Maria Pereira de A
• Orientador(a): Ferraraz, Rogério
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Anhembi Morumbi
• Programa de Pós-Graduação: Programa de Pós-Graduação Mestrado em Comunicação
• Departamento: Universidade Anhembi Morumbi::Diretoria de Pesquisa e Pós-graduação Stricto Sensu
• País: Brasil
• Palavras-chave em Português: Comunicação: Análise fílmica; Cinema limítrofe; Narrativa fílmica
• Palavras-chave em Inglês: Communication: Film analysis; Cinema bordering; Film Narrative
• Área do conhecimento CNPq: CIENCIAS HUMANAS
• Resumo em Inglês: The objective of this dissertation is to raise some of the transformation processes that body painting presents when it is mediated. The changes dealt with here relate to the appearance of expressive effects that are coupled with their presence in the audiovisual media. It was possible to observe that body painting adds, primarily, to its frequency in the media culture, other representations that go beyond those modeled by its existence in the phenomenal world. In this way, we find that body painting, in the film, in the reality show, in the video clip, in publicity, in experiments of Intel, develops, at first, four expressive modes that we try to study in this work. These expressive modes are produced by coupling the body paint with the media. It is concluded, then, that this coupling ultimately modifies the scope of body painting by extending and modifying its space and function time.
• Link de acesso: http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1721

The objective of this dissertation is to raise some of the transformation processes that body painting presents when it is mediated. The changes dealt with here relate to the appearance of expressive effects that are coupled with their presence in the audiovisual media. It was possible to observe that body painting adds, primarily, to its frequency in the media culture, other representations that go beyond those modeled by its existence in the phenomenal world. In this way, we find that body painting, in the film, in the reality show, in the video clip, in publicity, in experiments of Intel, develops, at first, four expressive modes that we try to study in this work. These expressive modes are produced by coupling the body paint with the media. It is concluded, then, that this coupling ultimately modifies the scope of body painting by extending and modifying its space and function time.