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Interferências Estéticas: a Técnica Stop Motion Na Narrativa De Animação

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Interferências Estéticas: a Técnica Stop Motion Na Narrativa De Animação UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE LETRAS E ARTES ESCOLA DE BELAS ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES VISUAIS Eliane M. Gordeeff INTERFERÊNCIAS ESTÉTICAS: A TÉCNICA STOP MOTION NA NARRATIVA DE ANIMAÇÃO Rio de Janeiro 2011 Eliane M. Gordeeff INTERFERÊNCIAS ESTÉTICAS: A TÉCNICA STOP MOTION NA NARRATIVA DE ANIMAÇÃO Dissertação apresentada ao Programa de Pós- Graduação em Artes Visuais / Escola de Belas Artes, da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção de título de Mestre em Artes Visuais. Orientador: Prof. Dr. Rogério Medeiros Rio de Janeiro Março / 2011 Gordeeff, Eliane M. G661 Interferências estéticas : a técnica stop motion na narrativa de animação / Eliane M. Gordeeff. 2011. 166 f. : il. ; 30 cm. Orientador: Rogério Medeiros. Dissertação (mestrado) – UFRJ/EBA, Programa de Pós-Graduação em Artes Visuais, 2011. 1. Animação. I. Medeiros, Rogério. II. Universidade Federal do Rio de Janeiro. Escola de Belas Artes. III. Título. IV. Título: a técnica stop motion na narrativa de animação. CDD 778.5 INTERFERÊNCIAS ESTÉTICAS: A TÉCNICA STOP MOTION NA NARRATIVA DE ANIMAÇÃO Dissertação de final de curso em Arte Visuais, Linha de Pesquisa em Imagem e Cultura, do Programa de Pós-Graduação em Artes Visuais / Escola de Belas Artes, da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção de título de Mestre em Artes Visuais. Conceito:________________________________________ ____________________________________________ Prof. Dr. Rogério Medeiros Universidade Federal do Rio de Janeiro Conceito:________________________________________ ____________________________________________ Profa. Dra. Maria Cristina Volpi Universidade Federal do Rio de Janeiro Conceito:________________________________________ ____________________________________________ Prof. Dr. Jorge Luiz Cruz Universidade do Estado do Rio de Janeiro A imagem artística é sempre uma metonímia em que uma coisa é substituída por outra, o menor no lugar do maior. Para referir-se ao que está vivo, o artista lança mão de algo morto: para falar do infinito, mostra o finito. Substituição... Não se pode materializar o infinito, mas é possível criar dele uma ilusão: a imagem. Andrei Tarkovski AGRADECIMENTOS Aos animadores Alexander Petrov, Garri Bardin, Piotr Sapegin e Quiá Rodrigues, por suas atenções e solicitudes, sem as quais esse trabalho não seria possível. Aos também animadores Antônio Moreno, Arnaldo Galvão, Céu D´Elia, Fábio Yamaji, Marcos Magalhães, Martine Chartrand e Sávio Leite, pelo apoio e atenção. Aos professores Amaury Fernandes, Ana Maria Tavares Cavalcanti, Antônio Moreno (UFF), Carlos Azambuja, Carlos Terra, Luiz Roberto Pinto Nazário (UFMG), James Arêas (UERJ), Luiz Sérgio (UFF), Maria Cristina Volpi, Marcus Vinícius Dohmann e Rogério Medeiros que direta ou indiretamente tornaram este trabalho possível. Aos colegas Ana Palmiere, Caetano Mauro, Daniel Pinna, Gabriel Cruz, Índia Martins, José Ricardo Cereja, Jaciara e Lourdes Grzybowski, Luciana Fagundes Braga Ferreira e Mirian A. C. Crapez pelo apoio e auxílio. Aos membros da banca, os Profs. Doutores, Maria Cristina Volpi e Jorge Luiz Cruz (UERJ), pela atenção e solicitude. Ao meu orientador Prof. Doutor Rogério Medeiros, pelo suporte, compreensão e paciência. Ao meu companheiro Cláudio Roberto, pelo amor, compreensão e apoio. RESUMO INTERFERÊNCIAS ESTÉTICAS: A TÉCNICA STOP MOTION NA NARRATIVA DE ANIMAÇÃO Esta dissertação vem propor um olhar analítico, sobre uma expressão artística pouco abordada nos meios acadêmicos brasileiros: a Animação. Considerada somente um “gênero” cinematográfico, esta surgiu antes do chamado “cinema” e caracteriza-se pela variedade de seu tecnicismo, desenvolvido ao longo do tempo: desenho sobre papel, Stop motion, Pixilation, Rotoscopia, 2D e 3D. Porém, mesmo com todos os avanços tecnológicos e o brutal desenvolvimento da sua indústria atual, esta permanece obedecendo aos mesmos princípios desenvolvidos por figuras históricas, como Winson McCay, os irmãos Fleischer, Walt Disney, Tex Avery, Norman McLaren e continua sendo a arte de dar alma a quem não a tem. O objetivo desta pesquisa é o de analisar como a materialidade da técnica influi na informação visual complementando e auxiliando à narrativa animada. Para tanto, foi elaborado um estudo de casos, em que os recortes foram os seguintes curtas-metragens de animação em Stop motion: Vizinhos (1952, de Norman McLaren), De Janela pro Cinema (1999, de Quiá Rodrigues), O Velho e o Mar (2000, de Alexander Petrov), Adágio (2000, de Garri Bardin) e Ária (2001, de Piotr Sapegin). Estes foram analisados sob os conceitos da semiótica, do simulacro, do cinema, da narrativa, da teoria da comunicação; e com base nas informações obtidas em fontes primárias e nas pesquisas de gabinete. Assim foi possível constatar como a expressividade pode ser apresentada pelo uso físico, representativo e/ou simbólico do material (ou objeto) utilizado na elaboração da imagem, na produção de uma narrativa de animação; e como a variedade estética dessas formas de animar interfere definitivamente no resultado final do trabalho, muitas vezes contribuindo visualmente para “contar a história”. Por consequência, a pesquisa amplia a compreensão sobre a riqueza estética da Animação – enquanto arte, técnica e meio de mensagem. Palavras-chave: Animação, Stop motion, Narrativa, Estética da Animação. ABSTRACT AESTHETIC INTERFERENCE: TECHNICAL NARRATIVE IN STOP MOTION ANIMATION This dissertation proposes an analytical view on artistic expression rarely addressed in brazilian academic circles: Animation. Considered only a “genre” film, it came before of what is known by “cinema” and is characterized by its technical variety developed over time: Drawing on paper, Stop motion, Pixilation, Rotoscope, 2D and 3D. But even with all the technological advances and the development of its nowadays heavy industry, it still follows the same principles developed by historical figures such as Winson McCay, the Fleischer brothers, Walt Disney, Tex Avery, Norman McLaren and remains the art of giving soul to whom has not one. The objective of this research is to analyze how the technique affects the materiality of visual information complementing and assisting the animation narrative. To that goal, it was developed a case study, in which were selected the following shorts Stop motion animation films: Neighbors (1952, McLaren Norman), From Window to the Cinema (1999, Quiá Rodrigues), The Old Man and the Sea (2000, Alexander Petrov), Adagio (2000, Garri Bardin) and Aria (2001, Pjotr Sapegin). Theses were examined under the concepts of semiotics, the simulacrum, film, narrative, communication theory; and based on information obtained from primary sources and the research office. Thus, it was established how the expression may be presented, by representative and/or symbolic usage of the material (or object) used in the preparation of the image, in producing an animated narrative; and how the aesthetics variety of these ways of animating definitely affects the result of the final work, often visually helping “to tell the story”. Consequently, the study expands the understanding of the aesthetic richness of the Animation – as art, technology end medium of message. Keywords: Animation, Stop motion, Narrative, Aesthetics of Animation. SUMÁRIO INTRODUÇÃO .......................................................................................................................... 10 1 PANORAMA HISTÓRICO DA ANIMAÇÃO .................................................................... 14 1.1 A HISTÓRIA DA ANIMAÇÃO E O DESENVOLVIMENTO DE SUAS TÉCNICAS ...... 14 1.1.1 O início ................................................................................................................................ 14 1.1.2 Avanço técnicos .................................................................................................................. 18 1.1.3 Animação experimental .................................................................................................... 26 1.1.4 A Computação Gráfica ..................................................................................................... 30 1.2 O DESENVOLVIMENTO DO STOP MOTION ................................................................... 35 1.3 A ANIMAÇÃO NO BRASIL ................................................................................................ 39 2 A IMAGEM ANIMADA E SUA ESTÉTICA ....................................................................... 44 2.1 A ANIMAÇÃO NO CONTEXTO ARTÍSTICO .................................................................. 44 2.1.1 Considerações sobre a imagem no teatro, na pintura, e no cinema .............................. 44 2.1.2 Considerações sobre a fotografia e as imagens cinematográficas: viva e animada ........... 48 2.2 CONSIDERAÇÕES SOBRE AS TÉCNICAS DE ANIMAÇÃO E A VIRTUALIDADE ... 54 3 A NARRATIVA E A ANIMAÇÃO ....................................................................................... 58 3.1 TIPOS DE NARRATIVAS .................................................................................................... 59 3.2 NARRATIVA E NÃO-NARRATIVA NO CINEMA ........................................................... 62 3.3 A NARRATIVA NO CINEMA VIVO E NA ANIMAÇÃO ................................................. 64 3.3.1 A narrativa, o tempo e a história ..................................................................................... 64 3.3.2 Códigos narrativos ...........................................................................................................
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