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Consciencialização cromática: um estudo sobre a cor no cinema de ficção científica do século XX
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| 3.07 MB | Adobe PDF |
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Abstract(s)
Desde as suas raízes no século XIX, a ficção científica distingue-se como sendo um dos mais ambíguos géneros de narrativa literária e cinematográfica. Oferecendo infinitas possibilidades e temas a explorar, vários foram os cineastas que procuraram, através do género, explorar temáticas, recursos técnicos e abordagens visuais, cuja exploração não era geralmente aceite em outros tipos de cinema.
Nesta investigação, a ficção científica é o veículo, através do qual são estudadas as formas, como cineastas de diferentes contextos históricos e culturais, utilizaram a cor como um poderoso elemento estético e narrativo nas suas histórias de ficção científica.
Durante a primeira metade do século XX, o sucesso do processo de coloração Technicolor contribuiu para a ascensão da chamada consciencialização cromática, onde a cor deixou de ser artifício estético e passou a ser utilizada em prol da narrativa. Com a padronização do cinema a cores pela década de 1960, começaram a ser estudados os impactos psicológicos da cor no ecrã, as possibilidades da sua utilização como recurso auxiliar da narrativa, assim como as potencialidades da cor na criação de estados emotivos e sensações visuais no espectador. Na segunda metade do século, os cineastas procuram um espaço para a exploração das recém-descobertas capacidades simbólicas, narrativas e estéticas da cor. Esse espaço foi várias vezes encontrado no cinema de ficção científica.
A dissertação utiliza os filmes 2001: A Space Odyssey (1968) e Solaris (1972) como estudos de caso, com o objetivo de explorar a forma como o recurso da cor foi utilizado pelos cineastas. Na investigação, pretende-se argumentar que a ficção científica do século XX se distingue pela forma como utiliza a cor, e que o impacto deste recurso no espectador é fundamental para a identidade do género cinematográfico.
Since its roots in the 19th century, science fiction has distinguished itself as one of the most ambiguous genres of literary and cinematic narrative. Offering endless possibilities and themes to explore, several filmmakers sought, through the genre, to explore themes, technical resources, and visual approaches whose exploration was not generally accepted in other types of cinema. In this investigation, science fiction is the vehicle, through which is studied, how filmmakers from different historical and cultural contexts used colour as a powerful aesthetic and narrative element in their science fiction stories. During the first half of the 20th century, the success of the Technicolor colouring process contributed to the rise of the so-called colour consciousness, where colour ceased to be an aesthetic artifice and started to be used in favour of the narrative. With the standardization of colour cinema in the 1960s, the psychological impacts of colour on the screen began to be studied, the possibilities of its use as an auxiliary resource for narrative, as well as the potential of colour in the creation of emotional states and visual sensations in the viewer. In the second half of the century, filmmakers sought a space to explore the newly discovered symbolic, narrative, and aesthetic capabilities of colour. This space was found several times in science fiction cinema. In this thesis, the films 2001: A Space Odyssey (1968) and Solaris (1972) are used as case studies, to explore the ways that the colour resource was used by filmmakers. The research aims to argue that science fiction cinema of the 20th century is distinguished by the way it uses colour, and that the impact of this resource on the viewer is fundamental to the genre identity.
Since its roots in the 19th century, science fiction has distinguished itself as one of the most ambiguous genres of literary and cinematic narrative. Offering endless possibilities and themes to explore, several filmmakers sought, through the genre, to explore themes, technical resources, and visual approaches whose exploration was not generally accepted in other types of cinema. In this investigation, science fiction is the vehicle, through which is studied, how filmmakers from different historical and cultural contexts used colour as a powerful aesthetic and narrative element in their science fiction stories. During the first half of the 20th century, the success of the Technicolor colouring process contributed to the rise of the so-called colour consciousness, where colour ceased to be an aesthetic artifice and started to be used in favour of the narrative. With the standardization of colour cinema in the 1960s, the psychological impacts of colour on the screen began to be studied, the possibilities of its use as an auxiliary resource for narrative, as well as the potential of colour in the creation of emotional states and visual sensations in the viewer. In the second half of the century, filmmakers sought a space to explore the newly discovered symbolic, narrative, and aesthetic capabilities of colour. This space was found several times in science fiction cinema. In this thesis, the films 2001: A Space Odyssey (1968) and Solaris (1972) are used as case studies, to explore the ways that the colour resource was used by filmmakers. The research aims to argue that science fiction cinema of the 20th century is distinguished by the way it uses colour, and that the impact of this resource on the viewer is fundamental to the genre identity.
Description
Keywords
Cor Cinema Ficção científica Visual storytelling Simbologia da cor