O formato de captação analógico em filmes históricos contemporâneos: um estudo das obras lançadas entre 2013 e 2019

Thalita Fernandes Sales; Marcel Vieira Barreto Silva

doi:10.19132/1807-8583202253.110039

Authors

Thalita Fernandes Sales Universidade Federal da Paraíba https://orcid.org/0000-0003-1638-4486
Marcel Vieira Barreto Silva Universidade Federal da Paraíba

DOI:

https://doi.org/10.19132/1807-8583202253.110039

Keywords:

Analog cinema, Historical movie, Materialities of communication

Abstract

This paper aims to analyze the role of the analog format in historical genre films produced in recent years. To achieve this, we took as a corpus the 700 films with the highest annual box office sales between 2013 and 2019, identifying their capture format and genre. Using an exploratory-descriptive methodology based on the information available on the Box Office Mojo and Internet Movie Database websites, the data collected in the research verified that while there was an accelerated adherence to the digital capture format in non-historical films throughout the analyzed period, the number of historical movies recorded on film remained unchanged. We suggest that the choice of analog format in historical films is not only due to aesthetic preferences, but also due to the “effect of past” that the device carries.

Downloads

Download data is not yet available.

Author Biographies

Thalita Fernandes Sales, Universidade Federal da Paraíba

Mestranda no Programa de Pós-Graduação em Comunicação (PPGC) da Universidade Federal da Paraíba

Marcel Vieira Barreto Silva, Universidade Federal da Paraíba

Professor Adjunto da Universidade Federal da Paraíba

Curso de Cinema e Audiovisual

Programa de Pós-Graduação em Comunicação

References

BARTHOLEYNS, G. The instant past: nostalgia and digital retro photography. In: NIEMEYER, K. Media and nostalgia: yearning for the past, present and future. New York: Palgrave Macmillan, 2014. p. 51-69.

BASCHIERA, S; CAODURO, E. Retro, faux-vintage, and anachronism: When cinema looks back. NECSUS: European Journal of Media Studies, Amsterdam, v. 4, n. 2, p. 143–163, 2015.

BAUDRY, J. L. Cinema: efeitos ideológicos produzidos pelo aparelho de base. In: XAVIER, I. (org.) A experiência do cinema: antologia. Rio de Janeiro: Graal, 1983. p. 383-399.

BELTON, J. Digital cinema: a false revolution. October, Cambridge, v. 100, p. 99-114, 2002.

BOLTER, J. D.; GRUSIN, R.. Remediation: understanding new media. Cambridge: The MIT Press, 2000.

BORDWELL, D. Pandora’s digital box: films, files and the future of movies. Madison: The Irving Way Institute Press, 2012.

CAODURO, E. Photo Filter Apps: Understanding Analogue Nostalgia in the New Media Ecology. Networking Knowledge: Journal of the MeCCSA Postgraduate Network, United Kingdom, [S. l.], v. 7, n. 2, 2014.

CAPELATO, M. et al. História e cinema: dimensões históricas do audiovisual. São Paulo: Alameda, 2007.

FILM vs digital: what is Hollywood shooting on? Stephen Follows Film Data And Education, London, 11 jan. 2016.

FOSSATI, G. From grain to pixel: the archival life of film in transition. Amsterdam: Amsterdam University Press, 2018.

GAUDREAULT, A; MARION, P. The end of cinema: a medium in crisis in the digital age. New York: Columbia University Press, 2015.

GIL, A. Como elaborar projetos de pesquisa. São Paulo: Editora Atlas, 2002.

GRAINGE, P. Nostalgia and style in retro America: moods, modes and media recycling. Journal of American Culture, [s. l.], v. 3, n. 1, p. 27-34, 2000.

GREENAWAY, P. Greenaway announces the death of cinema - and blames the remote-control zapper. [Entrevista concedida a] Clifford Coonan. Independent, London, 10 out. 2007.

GUMBRECHT, H. U. Produção de Presença: o que o sentido não consegue transmitir. Rio de Janeiro: Contraponto: Ed. PUC- Rio, 2010.

HEIJDEN, T. Technostalgia of the present: from technologies of memory to a memory of technologies. NECSUS: European Journal of Media Studies, Amsterdam, v. 4, n. 2, p. 103–121, 2015.

HERTZ, G.; PARIKKA, J. Mídia zumbi: desvio de circuito da arqueologia da mídia para um método de arte. Teccogs: Revista Digital de Tecnologias Cognitivas, São Paulo, n. 14, p. 98-113, jul-dez. 2016.

JUNGERSON, N. The social photo: on photography and social media. London: Verso, 2019.

KANSTEINER, W. History, memory, and film: a love/hate triangle. Memory Studies, Thousand Oaks , v. 11, n. 2, p. 131-136, 2018.

KNOWLES, K. Slow, methodical and mulled over: analogue film practice in the age of the digital. Cinema Journal, Texas, v. 55, n. 2, 2016, p. 146-151, 2016.

LANDSBERG, A. Prosthetic memory: the transformation of american remembrance in the age of mass culture. New York: Columbia University Press. 2004.

LANDSBERG, A. Cinematic temporality: modernity, memory and the nearness of past. In: KEIGHTLEY, E. Time, media and modernity. New York: Palgrave Macmillan, 2012. p. 85-101.

NAPOLITANO, M. A escrita fílmica da história e a monumentalização do passado: uma análise comparada de Amistad e Danton. In: CAPELATO, M. H. et al. História e cinema: dimensões históricas do audiovisual. São Paulo: Alameda, 2007. p. 65-83.

PARIKKA, J. What is media archeology? Cambridge: Polity Press, 2012.

ROSENSTONE, R. History on film/film on history. Harlow: Pearson Education. 2006.

ROSENSTONE, R; PARVULESCU, C. A companion to the historical film. Malden: John Wiley and Sons, 2013.

SAPIO, G. Homesick for aged home movies: why do we shoot contemporary family videos in old-fashioned ways? In: NIEMEYER, K. Media and nostalgia: yearning for the past, present and future. New York: Palgrave Macmillan, 2014. p. 39-50.

SCHREY, D. Analogue nostalgia and the aesthetics of digital remediation. In: NIEMEYER, K. Media and nostalgia: yearning for the past, present and future. New York: Palgrave Macmillan, 2014. p. 27-38.

STODDARD, J; MARCUS, A. More than “showing what happened”: exploring the potential of teaching history with film. The High School Journal, Chapel Hill, v. 93, n. 2, p. 83-90, jan-fev, 2010.