Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-06-02T22:42:00Z No. of bitstreams: 1 ManoelMeirellesAmorimBatista_DISSERT.pdf: 3722710 bytes, checksum: 3a02d19cab31f998b37eb32a35dc5355 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-08T23:41:15Z (GMT) No. of bitstreams: 1 ManoelMeirellesAmorimBatista_DISSERT.pdf: 3722710 bytes, checksum: 3a02d19cab31f998b37eb32a35dc5355 (MD5) / Made available in DSpace on 2017-06-08T23:41:15Z (GMT). No. of bitstreams: 1 ManoelMeirellesAmorimBatista_DISSERT.pdf: 3722710 bytes, checksum: 3a02d19cab31f998b37eb32a35dc5355 (MD5) Previous issue date: 2017-02-20 / A presente pesquisa se prop?e a analisar a paisagem nordestina constru?da no filme ?O C?u de Suely?, dirigido por Karin A?nouz em 2006. Considerando que a paisagem ? uma constru??o do olhar humano em dire??o a uma dada regi?o espacial, e que esse olhar organiza e seleciona os dados da realidade a partir das refer?ncias pr?vias subjetivadas e do imagin?rio de cada observador, exploramos a representa??o da paisagem nesse filme por meio da an?lise f?lmica preconizada por Jacques Aumont (2004), acrescida de uma abordagem plurimetodol?gica que agrega concep??es da paisagem atinentes a diversos campos das humanidades como arte, geografia, hist?ria e literatura. Primeiramente, a constru??o da paisagem nordestina foi examinada em sua correla??o com outros filmes do cinema contempor?neo e de per?odos anteriores do cinema nacional. Em seguida foram investigados diferentes aspectos da paisagem no filme escolhido para ser objeto emp?rico desta pesquisa, como sua produ??o, roteiro, equipe t?cnica, or?amento e loca??es, bem como averiguamos como se formou o olhar do diretor em rela??o a essas espacialidades, por meio do levantamento de dados profissionais e biogr?ficos, que ajudaram a entender suas refer?ncias pr?vias subjetivas. Com esse aporte te?rico, a an?lise em espec?fico do filme foi direcionada por tr?s chaves de leitura selecionadas, sendo elas o c?u, o sert?o e a mulher. Tais chaves potencializaram as reflex?es sobre a paisagem referenciadas por pontos de adensamento simb?lico e marcadores espaciais, sendo examinadas as fun??es e peculiaridades que a paisagem assume nessa narrativa, tendo funcionalidades al?m da mera descri??o espacial, apontando fortes evid?ncias de que ela pode impulsionar a narrativa, refletir estados subjetivos dos personagens, ou at? funcionar como antagonista em certos momentos. Em ?O C?u de Suely? a paisagem constitui exemplo das novas tend?ncias no cinema nordestino, as quais trazem para o foco as transforma??es, a diversidade e atualiza??es que ocorrem nessas espacialidades, e permitem assim, a incorpora??o de elementos urbanos, globalizados, transculturais a essas constru??es espaciais. / The following research intends to propose an analysis of Northeastern landscape built in the movie ?Suely in the Sky?, directed by Karin Ainouz in 2006. Considering that a landscape is built by the human eye directing of a certain spatial region and that that look organizes and selects subjective previews and the imaginary of each viewer, it was explored a landscape representation in the movie via a film analysis penned by Jacques Aumont (in 2004), expanded by a plethora of methodological lines which adds landscapes concepts linked to several fields of humanities such as Arts, Geography, History and Literature. Firstly, the construction of the northeastern landscape was examed in its correlation to other movies from Contemporary Cinema and previous periods of National Cinema. Secondly, different aspects of the referred movie were investigated, since it was chose as the research empirical object, such as its production, screenplay, crew, budget and locations; it was also examined how the director?s style originated from those spatialities, elaborating a research through his career and biography ? that enabled a full understanding of his preliminary references. With this theoretical input, the movie?s specific analysis was driven by three selected themes: the sky, the sert?o and the woman. These themes boosted the discussions about landscape, deepened by its symbolism and spatial markers, thus, examined its functions and peculiarities which are elaborated towards landscape in this piece of work. An analysis supported beyond mere spatial description, leading to strong evidence for the narrative?s appeal, communicating the character?s personal states or even functioning as an antagonist in certain moments. In ?Suely in the Sky?, the landscape itself constitutes an example for the new tendencies of Northeastern Cinema, linked to its transformation, diversity e actualization characteristics that occurs in such spacialities, also enabling the embodiment of urban, global and transculturals elements to those spatial constructs.