A tela mínima: Super 8 como suporte de pintura

Authors

  • Christiane Quaresma Universidade Federal de Pernambuco

DOI:

https://doi.org/10.22475/rebeca.v7n1.439

Keywords:

animação, super 8, cinema brasileiro

Abstract

O super 8 nacional é marcado por uma multiplicidade de experiências. O projeto de pesquisa cujo resultado se apresenta aqui, mantém seu foco sobre as animações superoitistas que foram pintadas ou riscadas diretamente sobre a película de super 8 no Brasil das décadas de 1970 e 1980. Tal especificidade processual, fazendo convergir os meios da pintura e do dispositivo cinematográfico, é conhecida como “animação direta” ou “cameraless”, pela exclusão da câmera do processo e representação realizada diretamente sobre a película.

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Published

2019-02-16

Issue

Vol. 7 No. 1 (2018): REBECA 13

Section

General articles

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