Publicada em: 13/06/2013 às 09:20 |
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A “forma panorama” e o desejo de memória e de redimensionamento da originalidade da obra – O moinho e a cruz, a partir de Bruegel, de Lech Majewski, e o evento com As bodas de Canã, de Veronese, por Peter Greenaway, como estudos de caso
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The longing for a memory haven due to the increasing compression of space-time and the possibility of reconfiguration of the originality of the artwork – as a consequence of the potential of technical reproducibility in the digital age – are currently responsible for permanent reappropriation of past pictorial representations and the illusionism characteristic of the early cinema. As a result of the new audiovisual technologies, which have problematized the relation between painting and cinema, “panoramic installations” privilege immersion and interactivity with a participant, a co-author. Peter Greenaway and Lech Majewski are some of the filmmakers that work nowadays at this healthy frontier, updating the cinematographic apparatus, especially in its perceptive conditions of aesthetic fruition and new possibilities of processes of subjectivation. Keywords
A “forma panorama” e o desejo de memória e de redimensionamento da originalidade da obra – O moinho e a cruz, a partir de Bruegel, de Lech Majewski, e o evento com As bodas de Canã, de Veronese, por Peter Greenaway, como estudos de caso |
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