A estética da montagem em vídeos produzidos por celular: análise de sete vidas (2008) e 5#calls (2010)

Abstract

This research aims to examine the principles of the aesthetics of editing in films produced by mobile phone. The paper analyses two short films awarded in festivals, #5calls (2010) directed by Giuliano Chiaradia and Seven Lives (2008), by Gabriel Bortolini. The proposal is to observe how these latest productions are being reconfigured in face of the audiovisual scene, from the technical and aesthetical point of view, also relating these aspects to the fragmentation of contemporary life and its cybrid context. Since it is a modern and multifaceted language, which provides experimental art tendencies, the research aims to look into the mounting of this type of production, not only as a technical operation, but mainly analysing the aesthetic implications presented. At first, under the technological perspective, the language of handheld devices and new art-media poetics, some discussions will be fomented by authors such as Lucia Santaella (2007), observing new hybrid audiovisual formats; Giselle Beiguelman (2011), discussing the artistic practices arising from the use of mobile technologies and Arlindo Machado (2007), with the expansion of the concept of cinema. In a second moment, we propose to observe the types of mounting, according to the approach of Vincent Amiel (2007) - narrative, discursive and by correspondence - as well as some of its peculiarities, among which the articulations and relations between the plans; the principles of merging and transmission; the representation of the world and the dominant aesthetic procedures, using authors like Jacques Aumont (2011), Ismail Xavier (2011) Sergei Eisenstein (2002) and André Bazin (2014) to point relevant issues in mounting theories. As a method, we used the analysis of the image, as of Martine Joly (2010), highlighting three crucial steps towards aesthetic comprehension: decomposing the videos into parts to be analyzed; establishing relationships between the decomposed elements and, finally, interpreting them according to aesthetic theory of the assembly, based on Vincent Amiel (2007). The analysis, which is the last chapter, brings up relevant discussions of current videographic practices through the selection of eight short films – all produced using mobile phones, and more specifically the assembly of these productions, in an aesthetic perspective. The focus, however, are the short films of Bortolini and Chiaradia, which are examined in more detail, dialoguing directly with the issues raised in chapters one and two of this research.