Loading...
Publication
A digitalização do cinema e a emergência do cinema PRO-AM
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 3.79 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
Ao longo de grande parte da história do cinema, foi frequentemente fácil estabelecer a distinção entre uma forma de produção cinematográfica entendida como profissional e outra considerada amadora. A diferenciação era efetuada mediante a evocação de elementos particulares associados a cada tipologia. No momento contemporâneo, face à intervenção da digitalização no território da criação de imagens em movimento, esta oposição tende a esbater-se. As duas categorias contaminam-se ou mesclam-se, criando, assim, uma nova categoria híbrida. A modalidade de produção cinemática que permite ao cinema assumir em simultâneo características e tropos dos dois territórios, antes aparentemente incompatíveis, é aqui designada por cinema pro-am. Esta denominação adota um termo já comum para a fusão entre os conceitos amador e profissional, composto pela justaposição da abreviatura dos vocábulos que os nomeiam. É objetivo do presente artigo compreender a génese deste conceito e a sua expressão contemporânea. Tendo em conta estes propósitos, a reflexão inicia-se com uma breve incursão histórica em que se procura caracterizar as duas tipologias de
produção cinemática, no sentido de identificar as características particulares que, ao longo do tempo, lhes foram atribuídas e contribuíram para as definir. As oposições que lhes subjazem podem ser agrupadas a partir de quatro elementos fundamentais: 1) os protagonistas e suas condições de produção; 2) a tecnologia
utilizada; 3) as produções (destacando-se aqui os seus componentes técnicos, estéticos e temáticos); 4) os modos de circulação e difusão das mesmas. Seguidamente, identificam-se as transformações operadas contemporaneamente no território do cinema, que aparentam contribuir para a sua indistinção. Nesta
etapa, discute-se o conceito de digitalização e o que este representa no quadro da criação e difusão cinemática. Finalmente, faz-se alusão a exemplos integráveis na nova categoria de cinema pro-am que visam demonstrar a sua manifestação e recorrência. Estes exemplos, dos quais se apresentará uma breve análise, são agrupados em duas sub-categorias: 'amadores que fazem filmes como profissionais' e 'profissionais que fazem filmes como amadores'. As designações propostas para as duas sub-categorias antes mencionadas assinalam a manutenção da referência ao anterior binómio como elemento necessário à compreensão dos seus modos de expressão.
Throughout the history of cinema, it has often easy to distinguish between one form of film production understood as professional and other considered amateur. This differentiation was possible by evoking particular elements associated with each typology. In the contemporary moment, due to the intervention of digitization in the territory of the creation of moving images, this opposition tends to fade. The two categories become contaminated or merged, thus creating a new hybrid category. The mode of cinematic production that allows the cinema to assume simultaneously characteristics and tropes of the two territories, previously apparently incompatible, is here called Pro-Am cinema. This denomination adopts an already common term for the fusion between the amateur and professional concepts, composed by the juxtaposition of the abbreviation of the designations that name them. It is the purpose of this article to understand the genesis of this concept and its contemporary expression. The reflection begins with a brief historical incursion in which the two typologies of cinematic production are characterized, in order to identify the particular characteristics that, over time, were attributed to them and contributed to define them. The oppositions that underlie them can be grouped in four fundamental elements: 1) the protagonists and their conditions of production; 2) the technology used; 3) the productions (highlighting here its technical, aesthetic and thematic components); 4) their modes of circulation and diffusion. Next, we identify the transformations that have taken place simultaneously in the territory of cinema, which seem to contribute to their indistinction. At this stage, the concept of digitalization is discussed and also what it represents in the framework of the creation and diffusion of moving images. Finally, an allusion is made to examples integrable in the new category of pro-am cinema that aim to demonstrate its manifestation and recurrence. These examples, which will be presented briefly, are grouped into two sub-categories: 'amateurs who make films as professionals' and 'professionals who make films as amateurs'. The proposed designations for the two sub-categories mentioned above point to the maintenance of the reference to the previous binomial as a necessary element to the understanding of their modes of expression.
Throughout the history of cinema, it has often easy to distinguish between one form of film production understood as professional and other considered amateur. This differentiation was possible by evoking particular elements associated with each typology. In the contemporary moment, due to the intervention of digitization in the territory of the creation of moving images, this opposition tends to fade. The two categories become contaminated or merged, thus creating a new hybrid category. The mode of cinematic production that allows the cinema to assume simultaneously characteristics and tropes of the two territories, previously apparently incompatible, is here called Pro-Am cinema. This denomination adopts an already common term for the fusion between the amateur and professional concepts, composed by the juxtaposition of the abbreviation of the designations that name them. It is the purpose of this article to understand the genesis of this concept and its contemporary expression. The reflection begins with a brief historical incursion in which the two typologies of cinematic production are characterized, in order to identify the particular characteristics that, over time, were attributed to them and contributed to define them. The oppositions that underlie them can be grouped in four fundamental elements: 1) the protagonists and their conditions of production; 2) the technology used; 3) the productions (highlighting here its technical, aesthetic and thematic components); 4) their modes of circulation and diffusion. Next, we identify the transformations that have taken place simultaneously in the territory of cinema, which seem to contribute to their indistinction. At this stage, the concept of digitalization is discussed and also what it represents in the framework of the creation and diffusion of moving images. Finally, an allusion is made to examples integrable in the new category of pro-am cinema that aim to demonstrate its manifestation and recurrence. These examples, which will be presented briefly, are grouped into two sub-categories: 'amateurs who make films as professionals' and 'professionals who make films as amateurs'. The proposed designations for the two sub-categories mentioned above point to the maintenance of the reference to the previous binomial as a necessary element to the understanding of their modes of expression.
Description
Keywords
Cinema Digitalização Cinema Pro-Am Cinema profissional Cinema amador Cinema Digitization Pro-Am cinema Professional cinema Amateur cinema
Citation
Alves, M. (2019). A digitalização do cinema e a emergência do cinema PRO-AM. In T. A. De Barros, S. Ferreira, P. Lobo, S. Morais, P. Rodrigues, F. Sobral, & L. Sousa (Eds.), Atas do 10º Congresso SOPCOM: Ciências da Comunicação: Vinte Anos de Investigação em Portugal (pp. 436-451). SOPCOM / Instituto Politécnico de Viseu.
Publisher
Associação Portuguesa de Ciências da Comunicação (SPOCOM)