Caleidoscopia do Cinema Publicitário

Resumo (EN)

Advertising movies "kaleidoscopical" scope is a dissertation with the main purpose of vindicating the admirable beautifulness, the shape and the spectator's glance categories, in order to analyze three advertising plays at Cannes Festival, in which they reached a social recognition, as a result of the culture regarding media. The inquiry process originates from the practical feature which characterizes the advertising plays disclosed by the media, in view of a society ruled by consumption, which discovers an extraordinary way of exacerbating the up-to-date cultural imagination on the spectacle propitiated by the movie theatre, expressing the passage from the practical to the artistic view of the play, the study and analysis subject to this work. For that reason it was necessary to establish a movie theatre temporal scenery as an invention of Modernism which first of all and ultimately denotes the recognition of the new period and the new space of receiving. ln that case, the work considers the artists and the advertising professionals social group characterization, who produce and re-create their own society, trying to reach the demand from a mass public and pointing out the production of signification linked to the consumption real time and to the screen virtual space, which configures a new advertising image esthetics. lt starts from the theory that those signification effects happen within a "kaleidoscopical" scope, which regards a determined ethics, an esthetics and a new logic over the advertising social practice, which availing itself of the movies, moulds the receiver's behavior and subjectiveness way. As main theoretical references, it makes use of the work from Arnold Hauser, "História sócial da arte e da literatura" (1998) - " Social history of art and literature" (1998) - to outline a short view of the movies within the context of artistical Modernism in which publicity emerges as a way to receptive expression. Jürgen Habermas, on his work "O discurso filosófico da modernidade" (1990) - "The philosophical speech of modernity" (1990) - to point out the ideological inquiries involved on social structure, while an exercise of power related to consumption. The work from Roland Barthes "Retórica da Imagem" (1984) - "The lmage Rethoric" (1984), brings the two basic elements for analyzing the advertisement production, word eloquence and image eloquence, revealed on the work from Adilson Cite Ili, "Linguagem e persuasão" (2004) - "Language and persuasion" (2004 ). To outline an advertisement image esthetics, we started from the assumption contained on "Breviário de estética" (1997) - "Esthetics briefing" (1997) - from Benedetto Croce, who places the intuition as the esthetics' main element, as well as the "Dicionário de Estética" (1999) - "The Esthetics Dictionary" (1999) - from Gianni Carchia and Paolo D' Angelo, annotations on which the most contemporary assays of the continuity of this work are delineated. The methodology was ruled on the enunciated categories and applied to the advertisement plays, "Um mundo perfeito" (2002) - "A perfect world" (2002) -, "Sombra" (2004) - "Shadow" (2004) - and "Passarinho" (2006) - "Bird" (2006) -, rewarded during Cannes Festival, the social recognition to advertising production leading event. Advertising movies "kaleidoscopical" scope searches the always frank dialogue to the new ways to representation and meaning, which may develop from publicity social practice and mass communication means.