Eidos in movement: from the reception to the creation of the audiovisual
Eidos in movement: from the reception to the creation of the audiovisual — Starting from Bergson’s well-known image of the cinematographic mechanism of intelligence and perception, we enter the world of Plato’s ideas in search of the distinction between the continuous movement of the real and of eid...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
| Published: |
Pontíficia Universidade Católica de São Paulo
2007-07-01
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| Series: | Galáxia |
| Subjects: | |
| Online Access: | https://revistas.pucsp.br/galaxia/article/view/1486 |
| _version_ | 1818561953963966464 |
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| author | Regina Rossetti João Batista Freitas Cardoso |
| author_facet | Regina Rossetti João Batista Freitas Cardoso |
| author_sort | Regina Rossetti |
| collection | DOAJ |
| description | Eidos in movement: from the reception to the creation of the audiovisual — Starting from Bergson’s well-known image of the cinematographic mechanism of intelligence and perception, we enter the world of Plato’s ideas in search of the distinction between the continuous movement of the real and of eidos as a stable representation of the instability of things. The concepts of eidos and of movement are then used to analyze the conception, production and reception of an audiovisual product. The need for stabilizing the real movement of things and of events is present at various moments in the audiovisual process, namely: in the script, which uses words of a language that solidifies the fluidity of the creation; in the storyboard, which represents the most important actions graphically and statically; in the framing of the images, which separates the privileged moments from the continuous flow of reality; in photograms or videographic pictures, which are still images of real movement; in the perception of the spectator, who captures instants of reality in order to then align them; in memory, which selects and separates the most meaningful moments it perceives, and lastly, in the comments of the spectator, who examines and describes the mental images he has captured. |
| first_indexed | 2024-12-14T00:57:27Z |
| format | Article |
| id | doaj.art-9ce7c252aa0641b6a539896d2daaba65 |
| institution | Directory Open Access Journal |
| issn | 1519-311X 1982-2553 |
| language | English |
| last_indexed | 2024-12-14T00:57:27Z |
| publishDate | 2007-07-01 |
| publisher | Pontíficia Universidade Católica de São Paulo |
| record_format | Article |
| series | Galáxia |
| spelling | doaj.art-9ce7c252aa0641b6a539896d2daaba652022-12-21T23:23:29ZengPontíficia Universidade Católica de São PauloGaláxia1519-311X1982-25532007-07-0101447591229Eidos in movement: from the reception to the creation of the audiovisualRegina Rossetti0João Batista Freitas Cardoso1Universidade Municipal de São Caetano do Sul (USCS), Pró-reitoria de Pós-graduação e Pesquisa - BrasilUniversidade Municipal de São Caetano do Sul (USCS), Pró-reitoria de Pós-graduação e Pesquisa - BrasilEidos in movement: from the reception to the creation of the audiovisual — Starting from Bergson’s well-known image of the cinematographic mechanism of intelligence and perception, we enter the world of Plato’s ideas in search of the distinction between the continuous movement of the real and of eidos as a stable representation of the instability of things. The concepts of eidos and of movement are then used to analyze the conception, production and reception of an audiovisual product. The need for stabilizing the real movement of things and of events is present at various moments in the audiovisual process, namely: in the script, which uses words of a language that solidifies the fluidity of the creation; in the storyboard, which represents the most important actions graphically and statically; in the framing of the images, which separates the privileged moments from the continuous flow of reality; in photograms or videographic pictures, which are still images of real movement; in the perception of the spectator, who captures instants of reality in order to then align them; in memory, which selects and separates the most meaningful moments it perceives, and lastly, in the comments of the spectator, who examines and describes the mental images he has captured.https://revistas.pucsp.br/galaxia/article/view/1486audiovisual and philosophycommunication and Platoimage and movement |
| spellingShingle | Regina Rossetti João Batista Freitas Cardoso Eidos in movement: from the reception to the creation of the audiovisual Galáxia audiovisual and philosophy communication and Plato image and movement |
| title | Eidos in movement: from the reception to the creation of the audiovisual |
| title_full | Eidos in movement: from the reception to the creation of the audiovisual |
| title_fullStr | Eidos in movement: from the reception to the creation of the audiovisual |
| title_full_unstemmed | Eidos in movement: from the reception to the creation of the audiovisual |
| title_short | Eidos in movement: from the reception to the creation of the audiovisual |
| title_sort | eidos in movement from the reception to the creation of the audiovisual |
| topic | audiovisual and philosophy communication and Plato image and movement |
| url | https://revistas.pucsp.br/galaxia/article/view/1486 |
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