Videoclipe 2.0: interatividade e regimes de interação na era digital
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Data
2013-08-22
Autores
Caldas, Carlos Henrique Sabino [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O videoclipe, enquanto produção audiovisual, sempre esteve ligado a contextos de forte influência das novas tecnologias de imagem e som, incorporando procedimentos do fazer artístico, mas, ao mesmo tempo, adentra-se no ambiente de mídia de massa com forte presença da lógica de mercado e venda de produtos. Assim como a videoarte e o cinema experimental e de vanguarda influenciaram sua configuração como produto midiático, observamos os recursos de produção presentes nos diferentes dispositivos de comunicação infoeletrônicos contribuindo na constituição de sua linguagem, criando experiências inovadoras nos modos de fruição e nas novas realidades de consumo. Nessa alteração na maneira de consumir e produzir os meios de comunicação observa-se que a interatividade é utilizada como um recurso das formas de produção e consumo da contemporaneidade. O objetivo deste trabalho é entender as mudanças nas relações de comunicação e formas de consumo do videoclipe em novos formatos, pautados pelos conteúdos interativos, possibilidades pelas tecnologias digitais das mídias contemporâneas. Após realizarmos um recenseamento das interações mediadas em ambientes informáticos a partir da linguagem nos estudos da comunicação, buscamos problematizar a semiotização da interatividade nos videoclipes. Para constituição do corpus, foram selecionados três projetos de videoclipe interativo desenvolvidos pelo diretor Chris Milk em parceria com a Google Data Arts, The Johnny Cash Project, The Wilderness Downtown e Three Dreams of Black. O referencial teórico-metodológico utilizado baseia-se...
The music video clip, while being an audiovisual production, had always been linked to contexts strongly influenced by image and sound new technologies, incorporating proceedings of the artistic making, but at the same time, penetrating the mass media environment which in turn is influenced by the strong presence of the logic of trade and market. In the same way vídeo art, vanguard and experimental cinema influenced the configuration of music video clip as a media product, we observe production resources present on the different info electronic communication devices, contributing to constitute its language, creating innovative experiences for the ways of enjoyment and on the new realities of consumption. In this change in the way communication media are produced and consumed we observe that interactivity is used as a resource for forms of production and consumption in contemporaneity. The objective of this work is to understand the changes in communication relations and forms of consumption of music vídeo clip in new formats, guided by interactive contents, enabled by the digital technologies of contemporary media. This paper analyzes the video clip within the context of media convergence, where production resources from the various communication info electronic devices act in the process of constituing its language, creating innovative experiences in the ways of enjoyment and realities of consumption After we have conducted a survey of mediated interactions in computers environments parting from the language in communication studies, we seek to problematize the semiotization of interactivity in music video clips./ In order to constitute the corpus of this paper, three projects if interactive music video clips were chosen, the three of them directed by Chris Milk in partnership with Google Data Arts:... (Complete abstract click electronic access below)
The music video clip, while being an audiovisual production, had always been linked to contexts strongly influenced by image and sound new technologies, incorporating proceedings of the artistic making, but at the same time, penetrating the mass media environment which in turn is influenced by the strong presence of the logic of trade and market. In the same way vídeo art, vanguard and experimental cinema influenced the configuration of music video clip as a media product, we observe production resources present on the different info electronic communication devices, contributing to constitute its language, creating innovative experiences for the ways of enjoyment and on the new realities of consumption. In this change in the way communication media are produced and consumed we observe that interactivity is used as a resource for forms of production and consumption in contemporaneity. The objective of this work is to understand the changes in communication relations and forms of consumption of music vídeo clip in new formats, guided by interactive contents, enabled by the digital technologies of contemporary media. This paper analyzes the video clip within the context of media convergence, where production resources from the various communication info electronic devices act in the process of constituing its language, creating innovative experiences in the ways of enjoyment and realities of consumption After we have conducted a survey of mediated interactions in computers environments parting from the language in communication studies, we seek to problematize the semiotization of interactivity in music video clips./ In order to constitute the corpus of this paper, three projects if interactive music video clips were chosen, the three of them directed by Chris Milk in partnership with Google Data Arts:... (Complete abstract click electronic access below)
Descrição
Palavras-chave
Greimas, Algirdas Julien, 1917-, Comunicação, Gravações de video, Multimidia interativa, Semiotica, Sentido (Filosofia), Communication
Como citar
CALDAS, Carlos Henrique Sabino. Videoclipe 2.0: interatividade e regimes de interação na era digital. 2013. 104 f. Dissertação (mestrado) - Universidade Estadual Paulista Júlio de Mesquita Filho, Faculdade de Arquitetura, Artes e Comunicação de Bauru, 2013.