Intertextualidade e Apropriação: Do filme analógico ao digital

Abstract

From the Art earliest days that concepts such as intertextuality and appropriation are inestambly protagonists of a transposition universe where previously influences are sistematically imposed, coming from the past and affecting the future. Cinema and its main distinguishing feature - movement - is not an exception. From the history to nowadays that cinema is proliferated with examples of pre-existing material recycling: "What are the main diferences between intertextuality and appropriation?" This is the main question beyond the dissertation since the cinematographic device as a truly multimedia art brings together a wide range of representation elements that complicate the nuances of the above designations. It starts with a theoretical scope in which three points are highlighted: cinema as the art of the movement, current theories about intertextuality and appropriation and digital revolution. In the development it focuses in the analysis of a set of short films from the "Festival Of (In)Appropriation". The analysis aims to understand how artists nowadays endow other work on their creations, establishing a parallel between the cinematographic foundations of the two central concepts and the changes resulting from digital video, identifying new trends in the motion picture paradigm. It is concieved by adopting a taxonomy using the montage and three main filters: visual, historical and social.