Para tanto, foram conjugadas interdisciplinarmente as contribuições teóricas de diversos campos do conhecimento: da Retórica Clássica, da Escola Americana da Nova Retórica, da Retórica Visual, da Análise do Discurso, dos Estudos Enunciativos, da Semiótica Social, bem como da Semiótica da Canção, sempre assumindo como principal norte teórico a sociocognição. De maneira mais específica, proponho-me aqui a: i) investigar o videoclipe como gênero textual, observando a sua formação histórica e sociorretórica, as suas configurações genéricas e também como dialoga intertextualmente com outros textos, discursos e gêneros ii) examinar de que modo se dá a construção da identidade feminina no videoclipe a partir do debate entre feministas e pós-feministas em torno da constituição identitária da mulher e iii) apresentar e discutir as principais abordagens teóricas sobre o ethos e o pathos ao longo da história e na atualidade, propondo por fim a adoção de uma perspectiva sociocognitiva acerca desses dois fenômenos. Em outras palavras, a minha principal finalidade é analisar as marcas linguisticamente inscritas no discurso videoclíptico feminino para a criação identitária de uma autoimagem das cantoras e para a encenação das suas emoções e sentimentos a partir dos vários modos semióticos orquestrados nesse gênero textual: imagem, música e palavra. O objetivo central desta investigação consiste em estudar de que forma se dá a construção do ethos e do pathos em videoclipes femininos. I hope the documents presented here will be a helpful starting point for those interested in taking matters further. However, I will gladly leave this to someone else to undertake. An analysis of how the song is deconstructed in the video might be of interest. The ‘Monster Ball’ album’s liner notes will reveal, for example, that Gaga and Beyoncé never met in the studio to record this duet. A dissection of production techniques and values can be fruitful. Here one will find that its song sections are – typical for Gaga – by no means as repetitive and predictable as ‘meets the ear’. This is not to suggest that interesting findings can’t be made on TELEPHONE’s musical soundtrack : One could start with a discussion of ‘Telephone’ as a self-contained composition. The closest I have come to dissecting the song is an annotated transcription. Unfortunately, I do not feel inspired to engage in a close-reading of the song itself, seeing that it is in itself less than fascinating. As a film/TV composer, arranger, songwriter and educator, I could quite comfortably write about the song ‘Telephone’ and the audio-visual relationships in the video. I have compiled these aspects in a glossary, outlining my thoughts and collating what I hope think be good starting points for a close-reading of TELEPHONE. I reckon that experts in the fields of cultural studies, sociology, film studies and media studies will be in a better position to analyse and comment on what I consider to be truly remarkable aspects of TELEPHONE. Having spent some time in the weeks since the video’s release browsing the literature on music videos, I know that TELEPHONE cannot be adequately discussed by solely relying on the existing body of scholarship. The soon-to-follow public and popular media response affirmed my instinct. It wasn't tested for all possible scenarios but works great for simple shapes:Ĭurrently, Playtime Painter has a simplified version of that shader, which interpolates between 2 normal vectors and gives ok results on some edges.When I first saw Lady Gaga’s TELEPHONE, on the day it was released, I knew this video presented something unprecedented in style and scope. Realised that by clipping pixels that end up having a normal facing away from the camera, it is possible to smooth the outline shape. You can see some dark lines, it's because it starts to interpolate to a normal vector which facing away from light source, but since there are no additional triangles, the result is visible on a triangle which is facing the camera. Will post the shader with the next update. To add such data in a mesh I made a custom mesh editor, comes with Playtime Painter Asset from Unity Asset Store. You will also need one float3 to detect edges. The only way it can work is by providing 4 normal vectors instead of one for each vertex (smooth, sharp and one for each edge of the triangle for the given vertex). I recently finished creating such shader.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |