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Advisor(s)
Abstract(s)
Esta tese analisa a construção de significado e linguagem gráfica das imagens animadas. A análise centra-se na relação criada entre conteúdo, forma e movimento e no seu discurso gráfico resultante, dando visibilidade a uma parte fundamental da atividade e evolução humana, a construção de significado através da forma das imagens. Para este propósito analisa o caso de estudo de dez longas metragens que constituem a obra do realizador Japonês, Hayao Miyazaki produzidas pelo lendário estúdio Ghibli.
No âmbito de design, esta tese cruza diferentes campos disciplinares dentro da área gráfica nomeadamente estudos de cultura visual, na análise do conteúdo nas imagens, estudos de design gráfico, na análise dos elementos formais que geram significado nas imagens, estudos de animação na análise do discurso gráfico e movimento resultante que gera significado nas imagens. O resultado do cruzamento destas áreas convergem numa contextualização desta tese num modelo teórico e num modelo prático de análise do filme animado e dos seus elementos constituintes fundamentalmente gráficos. No modelo teórico esta tese enquadra, propõe e define os domínios do filme animado relacionando: (a) Produção (processo de fabricação de significado nas imagens), (b) Imagem (recursos formais e gráficos de significado nas imagens) e (c) consumo e recepção cultural (interpretação de significado nas imagens) com enfâse no discurso gráfico resultante. No modelo prático de análise da linguagem gráfica em animação esta tese centra-se no elemento (b) para responder à questão da investigação de como é que a construção do significado é construída no filme animado nos seus elementos gráficos de linguagem e discurso.
A metodologia utilizada apresenta uma análise qualitativa dos filmes segundo o modelo proposto em categorias fundamentais da criação de significado em animação e elabora uma análise dos resultados segundo padrões de ocorrências e exceções que resultam numa conclusão dos resultados obtidos.
A contribuição do conhecimento desta tese propõe: a contextualização e alargamento teórico dos campos disciplinares para a análise gráfica do filme animado, a proposta de um modelo teórico dos seus domínios, a proposta de um modelo prático de análise, e ainda os resultados específicos da aplicação do modelo ao caso de estudo escolhido, a obra do realizador Hayao Miyazaki.
This thesis analyses the construction of meaning and graphical language in the animated film. The focus of this research is centred around the relationships among content, form and movement and how the resulting graphical discourse gives visibility to a highly important part of our human activity and human evolution, the construction of meaning in the form of images. To this end, a case study is analysed, considering ten feature films directed by Japanese animation director, Hayao Miyazaki, and produced at the legendary Studio Ghibli. Within the scope of Design, this thesis is characterised by an overlapping of different fields of knowledge: visual culture studies, in the analysis of content which generates meaning in images; graphical design studies, in the analysis of the formal and graphical structures which generate meaning in images; animation studies in the analysis of the graphical discourse which generates meaning in images. The result of this overlap converges into a framework, which proposes a theoretical model for the domains of the animated film, and a practical model of analysis of the animated film and its structural elements, which are essentially graphical. In the theoretical model, this thesis proposes an interrelationship among three aspects: (a) production (the meaning making process in images), (b) images (formal and graphical meaning resources in images) and (c) perception and cultural reception (interpretation of meaning in images) with particular emphasis on the resulting discourse. In the practical model of analysis, this thesis proposes a focus on aspect (b), formal and graphical meaning resources in images, to answer the research question of how the construction of meaning is generated in the animated film in its graphical elements and graphical discourse. The methodology of the present thesis is based on a qualitative analysis of the films under the proposed practical model of analysis to collect systematic information, in order to elaborate patterns of occurrences and exceptions and a consequent conclusion of the results.
This thesis analyses the construction of meaning and graphical language in the animated film. The focus of this research is centred around the relationships among content, form and movement and how the resulting graphical discourse gives visibility to a highly important part of our human activity and human evolution, the construction of meaning in the form of images. To this end, a case study is analysed, considering ten feature films directed by Japanese animation director, Hayao Miyazaki, and produced at the legendary Studio Ghibli. Within the scope of Design, this thesis is characterised by an overlapping of different fields of knowledge: visual culture studies, in the analysis of content which generates meaning in images; graphical design studies, in the analysis of the formal and graphical structures which generate meaning in images; animation studies in the analysis of the graphical discourse which generates meaning in images. The result of this overlap converges into a framework, which proposes a theoretical model for the domains of the animated film, and a practical model of analysis of the animated film and its structural elements, which are essentially graphical. In the theoretical model, this thesis proposes an interrelationship among three aspects: (a) production (the meaning making process in images), (b) images (formal and graphical meaning resources in images) and (c) perception and cultural reception (interpretation of meaning in images) with particular emphasis on the resulting discourse. In the practical model of analysis, this thesis proposes a focus on aspect (b), formal and graphical meaning resources in images, to answer the research question of how the construction of meaning is generated in the animated film in its graphical elements and graphical discourse. The methodology of the present thesis is based on a qualitative analysis of the films under the proposed practical model of analysis to collect systematic information, in order to elaborate patterns of occurrences and exceptions and a consequent conclusion of the results.
Description
Keywords
Design Studies Visual Culture Studies Animation Studies Graphical Language Hayao Miyazaki