Superfícies e (des)construções no processo videográfico na década de 1980, em Vitória/ES

Abstract

The emergence of video in the 1960s in the USA, placed new technologies at the center of the contemporary art debate, causing transformations that redefined the processes of audiovisual production and circulation. The video developed as a hybrid language, and started to play a fundamental role in the transformations of the narrative and the cinematographic language, which started to dialogue with the world of electronic image, exploring its aesthetic possibilities. From the 1960s onwards, video art incorporated cinema and TV characteristics, deconstructing its imagery forms, influencing in the 1980s the video clip which, even appearing as a tool for the dissemination of the phonographic industry, introduced new visual effects leading the viewer to hear and see the music in its audiovisuais dimension. In Brazil, in the 1970s, video was initially used as an alternative for plastic artists to try new media in their works. The dissertation makes a cartographic mapping of the videographic production process in the 1980s, in Vitória / ES, identifying the first experiments with video made by the Balão Mágico movement, until the acquisition of a videocassette device and a Betamax camera by the Communication course, which made possible the emergence of an effervescent production that was characterized as the first Videographic Cycle, which caused the resumption of audiovisual production in Espírito Santo. As a consequence of this process, in the 1990s characterized as the post-resumption, the video evolved, both in its technical aspect, as in its aesthetic aspect, solidifying a videographic and cinematographic production with videos and digital films from Espírito Santo