Orientador: Marcelo Ramos Lazzaratto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:33:58Z (GMT). No. of bitstreams: 1 Bordinhon_EduardoMoraes_M.pdf: 3845537 bytes, checksum: 82fb436c7a3c64c012d0ee44bed936d6 (MD5) Previous issue date: 2015 / Resumo: Essa dissertação teve como objetivo estudar os procedimentos técnicos que envolvem o trabalho a interpretação para cinema. Para isso, tivemos como objeto de pesquisa a filmografia do ator Marlon Brando (1924 ¿ 2004), com enfoque nos filmes "Uma Rua Chamada Pecado" (Elia Kazan, 1951), "Sindicato de Ladrões" (Elia Kazan, 1954), "A Face Oculta" (Marlon Brando, 1961), "O Grande Motim" (Lewis Milestone, 1962), "O Poderoso Chefão" (Francis Ford Coppola, 1972) e "Apocalipse Now" (Francis Ford Coppola, 1979). Verificamos, ao longo desses filmes, os procedimentos de construção de cena e personagens apoiados nos escritos de Stella Adler (2002) e Constantin Stanislavski (2001) sobre o trabalho do ator, com enfoque nas ações físicas no uso da imaginação e observação. Além disso, analisamos os temas e personagens recorrentes na filmografia de Brando identificando uma padronização de seu aparecimento na tela. Tal padrão está intimamente ligado à própria personalidade do ator e chega em duas figuras essenciais: o "jovem rebelde", presente nos filmes dos anos 1950 e caracterizado por sua postura contra o sistema vigente e o "padrinho", consolidado nas obras da década de 1970, marcado por sua relação de mentor de um personagem ou grupo de personagens. Para investigarmos essa padronização, utilizamos o conceito de ator-autor proposto por Patrick McGuiligan (1975) e desenvolvido por Luc Moullet (1993) e Pedro Maciel Guimarães (2012), com o qual se analisa a filmografia de um ator em busca de aspectos formais e temáticos que o possam nomeá-lo como co-autor de um filme / Abstract: This dissertation aim was studying the technical procedures of acting in cinema. In order to do this, we took as research material the filmography of the actor Marlon Brando (1924 ¿ 2004), focusing in the films "A Streetcar Named Desire" (Elia Kazan, 1951), "On The Waterfront" (Elia Kazan, 1954), "One-Eyed Jacks" (Marlon Brando, 1961), "Moutiny on the Bouty" (Lewis Milestone, 1962), "The Godfather" (Francis Ford Coppola, 1972) and "Apocalipse Now" (Francis Ford Coppola, 1979). Through those movies, we verified the procedures of creating a scene and a character supported by the writings of Stella Adler (2002) and Constantin Stanislavski (2001) on acting, focusing on physical actions, imagination and observation. Furthermore, we analysed the recurrent themes and characters on Brando¿s filmography investigating a pattern in his appearance on screen which is linked with the personality of the actor himself. Thus, we find two essential figures, the "young rebel", in the movies of the 1950s and characterized by his position against the hegemonic system, and the "godfather", consolidated in the 1970s, characterized by his relation as a mentor of a character or a group of characters. To investigate this standardization, we used the concept of the actor-author, proposed by Patrick McGuiligan (1975) and further developed by Luc Moullet (1993) and Pedro Maciel Guimarães (2012), in which one analyses an actor¿s filmography searching thematic and formal aspects that can categorize the actor as a co-author of a film / Mestrado / Teatro, Dança e Performance / Mestre em Artes da Cena

Die vorliegende Arbeit setzt sich mit dem Zusammenhang von „Rasse“- und Geschlechterdiskursen in den USA, Deutschland und England entlang der Schauspielerin Anna May Wong (1905-1961) auseinander. Anna May Wongs mehrere Jahrzehnte umspannende Karriere ist insofern außergewöhnlich, als dass sie als chinesisch-amerikanische Schauspielerin in der US-amerikanischen und europäischen Filmbranche erfolgreich war, dabei jedoch auf Widerstände stieß und sich mit diesen auf ambivalente Weise auseinandersetzte. Die Arbeit geht Anna May Wong als Kristallisationspunkt für Verhandlungen über rassifizierte und vergeschlechtlichte Grenzziehungen nach. Im Mittelpunkt stehen die Inszenierung Wongs in den Filmen, die sie von 1922-1937 in den jeweiligen Ländern gedreht hat, und ihrer Wahrnehmung durch sich selbst und das Publikum. In der Untersuchung ihrer Inszenierung und Wahrnehmung werden diskursive Verflechtungen, Unterschiede und Brüche sichtbar. Im Untersuchungszeitraum verändern sich zudem geopolitische Machtrelationen zwischen Europa, den USA und China signifikant, die auf die Konstruktion von Differenzfiguren erheblichen Einfluss haben und die in der vorliegenden Arbeit herausgearbeitet werden. Zugleich nimmt sie auch Wongs eigene Subjektivierungsstrategien in den Blick und fragt danach, in welchem Verhältnis Leben und Werk zueinander stehen. Anhand einer Mikrogeschichte entlang der Person Anna May Wong wird eine Geschichte der Abgrenzungs- und Aneignungsbewegungen zwischen Europa, USA und China erzählt. Die Untersuchung von Anna May Wong als Ausnahmephänomen verweist zum einen auf die diskursiven Regeln rassifizierter und vergeschlechtlichter Abgrenzung. Zum anderen bringt sie den spannungsreichen Überschuss zum Vorschein, der zeigt, dass das Andere im Eigenen immer schon enthalten ist. / This dissertation examines the life and work of the actress Anna May Wong (1905-1961) through the lens of discourse on race and gender in the USA, Germany, and England. Vice versa: it interrogates the discourse of race and gender by engaging the figure of Wong and her work both on screen and off. Wong’s decades-long career is extraordinary in the sense that, as a Chinese American, she achieved success in the American and European film industry in spite of gendered and racially-based resistance, an experience that her films explore in ambivalent ways. Wong serves as a prism in this dissertation to explore the ways in which racial and gendered boundaries were drawn during the span of her career, but with a specific focus on the films that she made between 1922-1937, which were shot in the United States and Europe. An interrogation of the manner in which Wong appears in these films, as well as the films’ reception(s), reveals a web of complex interweavings, intersections, and ruptures along sexual, gendered, and racialized lines. During the period on which this dissertation focuses, geopolitical power relations between Europe, China, and the United States shifted significantly with dramatic effects on the construction of difference, which the following project explores. The dissertation interrogates, therefore, the relationship between her life and the global context of her work. Her micro-history serves as a fulcrum for examining the larger history of bordering, appropriation, and identity negotiation(s) between Europe, the United States, and China. The investigation of Anna May Wong as a unique phenomenon reveals, on the one hand, a discursive and material history of raced and gendered constructions of difference. On the other hand, her work consistently engages a suspenseful type of excess, which demonstrates the ways in which the “other” is always already embedded in the “self”.