Zugl.: Marburg, Univ., Magisterarbeit

Tim Burton est un réalisateur américain qui crée des personnages atypiques, par leur nature, leurs caractéristiques physiques ou mentales. De son premier court-métrage professionnel Vincent à son dernier long-métrage Frankenweenie, il divertit, mais donne sa vision du monde à travers un portrait de la société, du monde réel, qui s'oppose au monde fantastique. Ce dernier correspond au cinéma, mais aussi au rêve, et lui permet de sortir de son quotidien. En créant ses mondes, il s'adresse à un public particulier, qui peut s'identifier dans ses personnages exclus, détachés de la société. Le personnage burtonien est souvent naïf. Il se trouve dans une situation initiale où il n'a pas vécu d'aventures. Il cherche à sortir de son monde, définitivement ou provisoirement. À plusieurs reprises durant le film, il se déplace entre un monde d'origine et un monde à atteindre. Ces déplacements, associés à des ellipses temporelles, des jeux de couleurs et de lumières ou la construction d'une relation avec un allié lui permettent de changer de statut, quel que soit le monde dans lequel il se trouve à la fin du film. Le but de ce mémoire est donc de mettre en avant les caractéristiques récurrentes du personnage principal burtonien à travers trois films qui constituent mon corpus : Edward Scissorhands (Burton, 1990), Charlie and the Chocolate Factory (Burton, 2005) et Alice in Wonderland (Burton, 2010). Il s'agit par la suite de vérifier si cette figure se retrouve dans le reste de la filmographie du réalisateur. Ayant dégagé les éléments qui permettent de montrer l'évolution ou non du personnage principal burtonien au sein du film, je peux mettre en avant la vision du monde de Tim Burton et le message qu'il veut faire passer à son public. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Enfance, Évolution, Famille, Frontière, Quête.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-14T12:36:56Z No. of bitstreams: 1 Filipi César Rodrigues Cardoso da Silva.pdf: 761679 bytes, checksum: 69b6274afc89a7facd136c505ebaf65e (MD5) / Made available in DSpace on 2018-06-14T12:36:56Z (GMT). No. of bitstreams: 1 Filipi César Rodrigues Cardoso da Silva.pdf: 761679 bytes, checksum: 69b6274afc89a7facd136c505ebaf65e (MD5) Previous issue date: 2018-02-15 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research conducts a narratological study of Tim Burton’s films in the light of the narrative theory of Vladimir Propp. It is to analyze in the oeuvre of Burton, analogous procedures to those of the wonderful tale such as described by Propp. It also pays attention to the matters that interconnect the Proppian wonderful world to the fantastic burthonian world. It seeks to understand how a reinterpretation in the cinematographic context of Tim Burton films create a connection with the morphological structure of the wonderful of V. Propp. The conducted literature reviews involve authoritative works on the fantastic cinema, the animation cinema in general and particularly the cinema of Tim Burton. The corpus of the research is composed by the Corpse Bride – 2005 of Tim Burton; The establishment of the corpus was based on the criterion of selection of the animation films that stand out in the oeuvre of Tim Burton. Methodologically, the research is bibliographical and comparative. The main theoretical reference is Propp's own narratological theory, which always seeks the wonderful in his works. This research also takes into consideration the masterful model work of Haroldo de Campos, Morphology of Macunaíma, which presents and reinterprets the proppian model. The relevance of this study lies in the fact that little research has been made on hybrid wonderful tale to the animation cinema. It is also proposing a new unfolding of the proppian semiology, turning it this time to the universe of visual discourse and digital manipulation / Esta pesquisa realiza um estudo narratológico em filmes de Tim Burton à luz da teoria narrativa de Vladimir Propp. Trata-se de analisar na obra de Burton, procedimentos análogos àqueles do conto maravilhoso tais como descritos por Propp.Atenta-se também para as pautas que interconectam o mundo maravilhosoproppiano ao mundo fantástico burthoniano. Busca-se entender como uma reinterpretação no contexto cinematográfico das películas de Tim Burton criam uma conexão com a estrutura morfológica do maravilhoso de V. Propp. A revisão bibliográfica efetuada aquienvolve trabalhos abalizados sobre o cinema fantástico, o cinema de animação em geral e o cinema de Tim Burton em particular. O corpus da pesquisa é composto pela obra cinematográfica A Noiva Cadáver – 2005 do diretor Tim Burton; O estabelecimento do corpus pautou-se pelo critério de seleção do filme de animação que despontam no conjunto da obra de Tim Burton. Metodologicamente, a pesquisa é bibliográfica e comparativa. O principal referencial teórico é a própria teoria narratológica de Propp que sempre busca o maravilhoso em suas obras. Este trabalho também leva em consideração o modelo da obra magistral de Haroldo de Campos, Morfologia do Macunaíma, que apresenta e reinterpreta o modelo proppiano. A relevância do trabalho está no fato de que poucas pesquisas foram realizadas sobre conto maravilhoso hibrido ao cinema de animação. Está também em propor um novo desdobramento da semiologia proppiana, voltando-a desta vez ao universo do discurso visual e da manipulação digital

This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other. / English Studies / M.A. (English Studies)