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RESUMO : O presente artigo tem por objetivo explorar, dentro da perspectiva da semiotica discursiva, alguns conceitos de desenho animado, utilizados ha longa data na producao de filmes de animacao dos estudios da Walt Disney, explicitados em Frank Thomas e Ollie Johnston (1981). Queremos compreender em que medida a composicao das imagens em movimento – que e, em essencia, a propria forma do movimento – produz sentido, configurando-se como signo, com significante e significado proprios. A luz do percurso gerativo de sentido, focando-se na dimensao semio-narrativa (GREIMAS; COURTES, 2013) e na semiotica tensiva (ZILBERBERG, 2006a, 2006b), com a conceitualizacao de valencias e missividade, podemos notar como cada sequencia do movimento animatorial organiza-se em um sintagma animatorial proprio. Por meio dessa ordenacao sintatica, que possui um fundo tensivo, formula-se um programa narrativo e revelam-se nitidamente seus valores, actantes e fazeres. Afirma-se, entao, como a forma da expressao dos movimentos nao e mero suporte a um plano de conteudo, desfazendo-se com a eficacia da comunicacao, mas sim o centro de que se origina e que norteia o sentido do conteudo, com niveis de profundidade tanto no plano do conteudo (niveis tensivo, missivo e narrativo) como no plano da expressao (niveis ritmico e motor). PALAVRAS - CHAVE : animacao; tensividade; narratividade. ABSTRACT : In this article, we propose to explore some cartoon’s concepts used by the Walt Disney Animation Studios for a long time, which we find in Frank Thomas and Ollie Johnston’s The Illusion of Life: Disney Animation (1981). By the perspective of Discoursive Semiotics, we can comprehend how the motion pictures’ composition, the form of motion, has its meaning, becoming a sign itself, with a signifier and a signified. Using traditional Greimasian Semiotics’ generative course (GREIMAS; COURTES, 2013), focusing on the semio-narrative level, and Zilberberg’s Tensive Semiotics and its valencies and missivity (ZILBERBERG, 2006a 2006b), we note that every motion sequence in a film organizes itself in a syntagm. Within this syntactic order with tensive base, narrative programs appear along with its values, actants and doings. Hence, we see how expression forms are not only support to content forms which disappear after effective communication, but that expression forms are, in this animatorial articulation, the originating center of meaning, with its own generative levels in the expression plane (rhythm and motor levels) and content plane (tensive, missive and narrative levels). It also opens a door to formulate a grammar for expression forms in Semiotics KEYWORDS : a nimation ; t ensivity ; n arrativity .

texto livre

Formas da expressão animatorial: o sentido dos movimentos na animação Disney / Forms of animatorial expression: the meaning of motion in Disney animation