[{"data":1,"prerenderedAt":110},["ShallowReactive",2],{"person-cac2ad91-8f1c-4f96-ba6e-095d2889c1c9":3},{"success":4,"person":5,"request":106},true,{"lastName":6,"role":7,"name":8,"description":9,"_id":10,"designation":7,"id":7,"email":11,"url":7,"createDate":12,"filiation":13,"slugs":14,"articles":17},"Tietzmann","","Roberto",{},"cac2ad91-8f1c-4f96-ba6e-095d2889c1c9","rtietz@pucrs.br","2025-12-28T08:34:47-03:00","Pontifícia Universidade Católica do Rio Grande do Sul",[15,16],"roberto-tietzmann","tietzmann-roberto",[18],{"pageRange":19,"parent":20,"updateDate":12,"data":21,"trackId":30,"type":31,"typeData":32,"metaData":87,"langs":89,"_id":92,"contributors":93,"contributorsIds":100,"createDate":101,"status":102,"download":103,"slugs":104,"slug":105},null,"f43247ba-af93-4a8a-898e-651ef65d9bd2",{"secondary":22,"primary":26},{"keywords":23,"excerpt":24,"title":25},"\u003Cp>film credits, graphic interpretation, cinema\u003C/p>","\u003Cp>Films' opening titles are a hybrid space where conventions and graphic design techniques are used on a time and motion based medium. Adapting to the medium, titles develop diverse visual narrative strategies apart from both traditional cinematographic language and graphic design for other media. Such narrative strategies often operate on the story's development, creating a differentiated space within the film through themes and narrative time's stretching or fragmentation, in contrast with the other parts of the film. This text explores strategies used by the titles, based upon the graphic interpretation of themes from the film and its socio-cultural context.\u003C/p>","\u003Cp>Visual Narrative Strategies: Graphic Interpretation in Film Credits\u003C/p>",{"keywords":27,"excerpt":28,"title":29},"\u003Cp>créditos de abertura, interpretação gráfica, cinema\u003C/p>","\u003Cp>Créditos de abertura cinematográficos são um espaço híbrido onde convenções e técnicas do design gráfico são aplicados a um suporte baseado no movimento registrado no tempo. Adaptando-se ao meio, os créditos desenvolvem diversas estratégias narrativas visuais diferentes da linguagem cinematográfica tradicional e distintas da comunicação gráfica em outros suportes. Tais estratégias freqüentemente operam no andamento da história, criando um espaço diferenciado através do esticamento ou da fragmentação do tempo e dos temas apresentados, contrastando com os demais momentos da obra. Este texto explora estratégias utilizadas pelos créditos, baseadas na interpretação gráfica de temas presentes na obra e seu contexto histórico-cultural.\u003C/p>","\u003Cp>Estratégias Narrativas Visuais: Interpretação Gráfica em Créditos de Abertura Cinematográficos\u003C/p>","y9g4z78z","article",{"startPage":33,"file":34,"references":37,"endPage":86,"track":30,"doi":7},"1272",{"fullpath":35,"name":36},"https://storage.googleapis.com/memoria-ped.appspot.com/articles%2F10_congresso_brasileiro_de_pesquisa_e_desenvolvimento_em_design%2Fy9g4z78z-1766921687-1272-1281.pdf","y9g4z78z-1766921687-1272-1281.pdf",[38,41,44,47,50,53,56,59,62,65,68,71,74,77,80,83],{"label":39,"id":40},"BAZIN, André. The Evolution Of The Language Of Cinema in BRAUDY, Leo & COHEN, marshall (eds.). \u003Cstrong>Film Theory and Criticism\u003C/strong> – Introductory Readings (fifth edition). Nova Iorque. Oxford University Press, 1999.","9aa5abff-e478-472d-9a35-dadaf6092770",{"id":42,"label":43},"b567e459-6d5c-428e-9246-1761e48ac396","BORDWELL, David; STAIGER, Janet; THOMPSON, Kristin. \u003Cstrong>The Classical Hollywood Cinema\u003C/strong>: Film Style&Mode of Production to 1960. Nova Iorque: Routledge, 1985.",{"id":45,"label":46},"517d335c-ad82-40dc-8721-16357c09aa6f","FIELD, Syd. \u003Cstrong>Quatro Roteiros\u003C/strong>. Rio de Janeiro : Objetiva, 1997.",{"label":48,"id":49},"FIELD, Syd. \u003Cstrong>Como Resolver Problemas de Roteiro\u003C/strong>. Rio de Janeiro : Objetiva, 2001.","94ccdcf6-84d2-460c-8a4a-ac5a48937d31",{"label":51,"id":52},"FISKE, J. (et al). \u003Cstrong>Key Concepts in Communication\u003C/strong>. London : Methuen, 1983.","88262aed-6889-4b9b-a62b-b26bc5938c5d",{"label":54,"id":55},"FREITAS, Cristiane Gutfreind. O filme e a representação do real. Disponível online na revista \u003Cstrong>E-Compós\u003C/strong>, edição nº06, agosto de 2006. Consultado na data 02/01/2007, no endereço eletrônico http://www.compos.org.br/e-compos/adm/documentos/ecompos06_agosto2006_cristianefreitas.pdf","9d8c4455-dcc0-4240-a798-6dc5a057f513",{"label":57,"id":58},"HELFAND, Jessica. \u003Cstrong>Screen\u003C/strong>: Essays on Graphic Design, New Media and Visual Culture. New York: Princeton Architecutral Press, 2001.","bea74931-9833-4ec6-8d76-b1a1d0cb80d6",{"label":60,"id":61},"GIANNETTI, Louis D. \u003Cstrong>Understanding Movies\u003C/strong> (9th Edition). Nova Iorque: Prentice Hall, 9th ed. 2001.","d1df70ec-e40c-4785-8649-0139f8381446",{"label":63,"id":64},"HELLER, Steve & FINAMORE, Marie. \u003Cstrong>Design culture\u003C/strong>: An anthology of writing from the aiga journal of graphic design. Allworth, 1997.","49666a03-58a8-4893-b5d7-484497d8403e",{"label":66,"id":67},"KATZ, Eprahim. \u003Cstrong>The Film Encyclopedia\u003C/strong> (3rd Ed). Nova Iorque : Perennial; 1998.","96580ac3-88f8-46c1-8c7a-364c449b7867",{"label":69,"id":70},"McKEE, ROBERT. \u003Cstrong>STORY\u003C/strong>. Nova Iorque: Harper Collins, 2002.","d2f9fe5f-6fdd-419d-bf1e-a1d8c5fdb85f",{"label":72,"id":73},"MORIN, Edgar. \u003Cstrong>O Cinema ou o Homem Imaginário\u003C/strong>. Lisboa: Relógio D ́Água, 1997.","35380a61-ac36-4f15-b438-87147f09e267",{"label":75,"id":76},"\u003Cstrong>NEW YORK TIMES\u003C/strong>, edição de 28/1/1898, p.8, capturado online no endereço http://www.nytimes.com/archive.","19d3113a-0dd5-439f-8e12-67d13e749dea",{"label":78,"id":79},"RUFFLES, Tom. \u003Cstrong>Ghost Images\u003C/strong>: Cinema Of the Afterlife. Jefferson : McFarland&Company, 2004.","30f40b7f-be16-45dd-b771-10f91e8cc22a",{"label":81,"id":82},"TOMACHEVSKI, B. Temática, in EIKHENBAUM, B. et alii. \u003Cstrong>Teoria da Literatura\u003C/strong>: formalistas russos. Porto Alegre: Globo, 1970","c09160f2-408f-481a-bc05-975f1a310873",{"label":84,"id":85},"TOULET, Emmanuelle. \u003Cstrong>O cinema, invenção do século\u003C/strong>. São Paulo: Objetiva, 1999.","12520f68-d96b-4d51-a01f-8d4705fc2568","1281",{"updateDate":7,"createDate":88,"deleteDate":7},1766921687,[90,91],"primary","secondary","28df7771-9ba6-4f00-b34f-19b513d08c35",[94],{"path":95,"objectID":10,"filiation":13,"slugs":96,"lastName":6,"designation":7,"createDate":97,"_id":10,"name":8,"lastmodified":98,"email":11,"role":7,"id":7,"url":7,"description":99},"people/cac2ad91-8f1c-4f96-ba6e-095d2889c1c9",[15,16],"2025-12-28T11:34:47.429Z",1766921687429,{},[10],"2025-12-28T11:34:47.430Z","enabled",1,[105],"visual-narrative-strategies-graphic-interpretation-in-film-credits",{"target":107,"query":108},"people/get",{"id":10,"articles":109},"true",1780316170715]