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Cinematic motion by hand

dc.contributor.authorGraça, Marina Estela
dc.date.accessioned2012-05-01T21:20:55Z
dc.date.available2012-05-01T21:20:55Z
dc.date.issued2006
dc.description.abstractThe general goal of my research is to find out what is questioned whenever an animated film is made by an author who chooses to have maximum control over the device automatisms. I am trying to understand in what ways that specific kind of film relates with Cinema and the History of Art as a whole and, more specifically, how its filmic discourse is built within cinematic codes, workings and machinery. This paper, in particular, aims to establish that each time an author makes a film by suspending both automatic ‘motion’ and image recording functions—that which is often known as “cameraless” film—a process is initiated that simultaneously questions not only Cinema, within both expression and technology, but also the ontological position this same technology occupies in current media.por
dc.identifier.citationAnimation Studies – Vol.1, 2006por
dc.identifier.issn1930-1928
dc.identifier.otherAUT: MGR00043;
dc.identifier.urihttp://hdl.handle.net/10400.1/1096
dc.language.isoengpor
dc.peerreviewedyespor
dc.publisherNichola Dobsonpor
dc.relation.publisherversionhttp://journal.animationstudies.org/download/volume1/ASVol1Art1MEGraca.pdfpor
dc.subjectAnimation poeticspor
dc.titleCinematic motion by handpor
dc.typejournal article
dspace.entity.typePublication
oaire.citation.endPage7por
oaire.citation.issueVol. 1por
oaire.citation.startPage1por
oaire.citation.titleAnimation Studiespor
person.familyNamede Vasconcelos Gonçalves Graça
person.givenNameMarina Estela
person.identifier.ciencia-idFD16-B85E-8DC8
person.identifier.orcid0000-0003-4990-0176
person.identifier.ridP-2825-2018
rcaap.rightsopenAccesspor
rcaap.typearticlepor
relation.isAuthorOfPublicatione328bb5e-8fa2-4cad-88e1-b37c3dd74f7b
relation.isAuthorOfPublication.latestForDiscoverye328bb5e-8fa2-4cad-88e1-b37c3dd74f7b

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