Abstract

This work is linked to the interinstitutional research Art, Psychoanalysis and Education: Aesthetic Procedures in Cinema and the Vicissitudes of Childhood CEPAE/UFG/PUCGO/UEG/UAB-UNB/UEMS, which seeks to highlight the potential of the relationship between cinema and education. The objective of this work is to perform a film analysis of the graphic short animation Canvas (2020), scripted and directed by Frank E. Abney III. The work evokes the power of Art’s sublimation, in the tender relationship between grandfather and granddaughter, who share the same loss in the family, but also the contact with painting and drawing. It brings to light a dialectical relationship involving aspects such as death, emptiness, sadness, revolt, as well as the possibilities of overcoming difficulties, the space for sensitivity, the paths of liberation, interspersed with the delicacy of the childish gesture. With Tarkovski (1998) we can say that this filmic work is imbued with poetic logic and in it we clearly see how cinema handles time and, in this case, to present the protagonist’s memories, the director resorts to the aesthetic change from a 3D animation to the 2D in this temporal transition. The use of this aesthetic device, light, the absence of words, sound design, the analogy of the landscape with graphic artistic movements, among others, impact and invite the viewer to elaborate. The theoretical support for this discussion is found in authors such as Freud (1996), Gagnebin (2009), Bosi (2000), Elsaesser and Hagener (1994), Ostrower (2014), Tarkovski (1998).