Capítulo I _ Cinema – Arte

Cinema e pintura em diálogo

Maria Fátima Nunes
ISMAI - Instituto Universitário da Maia, Portugal
Carlos Miguel Rodrigues
MEM, Portugal
AVANCA | CINEMA 2019
N.º 10 (2019)
Publicado 2019-10-14
PDF HTML

Resumo

Being the cinema, heir of painting, among other arts, it is natural that these two forms of representation have been theorized either by researchers in the field of film studies (Aumont, 2004), visual arts (Manovich, 2005), by filmmakers (Eisenstein, Godard...). Much of this theorization has had the object of studying biographical films of painters (cf. the work organized by Thivat, 2011). The question of the dialogue between cinema and painting has been posed by Queiroz (2012) ; by Nunes (2014). However, if we consider the example of the film Le Mystère Picasso, although Henri-George Clouzot filmed Picasso in the creative act, as spectators we do not have access to the genesis of the creative process, we only see the gestures and features of Picasso. This is, the cinema has functioned as a technology of recording, memory and digital composition, as a translator of the creative process of a work of art. Hence, as part of the research project “Cinema and painting in dialogue”, we intend to question film writing (cinematographic editing) as “translator” of the genesis of the creative process of a work of art; to establish, through filmic writing, the process of creating a work of art: drawing, painting, sculpture... And bringing cinema and painting closer together in the dialogical process of receiving and appropriating the work by the public.

Palavras-chave Cinema, Painting, Artes Visuais, Génese do Processo Criativo.
PDF HTML
Creative Commons License

Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.

Direitos de Autor (c) 2019 AVANCA | CINEMA