Design gráfico e imagem em movimento no Brasil (1929–2017): uma coleção de 200 artefatos gráficos audiovisuais

Abstract

This thesis presents a study of audiovisual graphic artifacts resulting from the interaction between graphic design and moving image in Brazil. Its aim is, based on design practices in a field with expanded boundaries, to assemble a collection of artifacts that can provide publicly and freely accessible reference material for future analysis and research. The research methodology is qualitative and quantitative in nature: it includes a bibliographic review; research in scientific publication portals and academic and audiovisual preservation institutions, and in digital video platforms. The thesis is based on an adaptation of the theories of André Villas-Boas, who proposes the validation of Graphic Design as a discipline through five structuring pillars: (1) the object; (2) the founding tradition; (3) the differentiating lexicon; (4) the methodology; and (5) the bureaucratic/institutional apparatus. These pillars are used here to validate audiovisual graphic artifacts in the field of Design. Another procedure adopted was the assembly of a collection of audiovisual graphic artifacts that had as selection criteria: the existence of an online archive publicly accessible and free of charge; social and historical recognition; and importance for the Brazilian Graphic Memory (BGM). The analysis of this research corpus allowed a reflection on the concepts of material culture, visual culture and graphic memory, which can contribute to historiographical strategies for the insertion of the objects of this study in the HGD of Brazil. Initially, I propose a look at Graphic Design as a relatively autonomous field, which has been related to Audiovisual since its origins. In this sense, I analyze its artifacts and concepts, histories and historiographies, academic and professional spheres. Then, these analysis parameters are applied to these same items, but from another perspective: I examine the hybrid field that arises from the intersections between Design and Audiovisual. Finally, I present the collection of artifacts assembled and some analyses formulated from the data obtained, which provide relevant content for Design educators in their teaching activities, as well as for all those interested in learning about this subject, constituting a repertoire of references, a cultural subsidy with broad access.