Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-02T13:43:00Z No. of bitstreams: 1 Fernando Beretta Del Corona_.pdf: 4050624 bytes, checksum: 799d20c962674faef9e36c063091e725 (MD5) / Made available in DSpace on 2018-08-02T13:43:00Z (GMT). No. of bitstreams: 1 Fernando Beretta Del Corona_.pdf: 4050624 bytes, checksum: 799d20c962674faef9e36c063091e725 (MD5) Previous issue date: 2018-03-28 / Nenhuma / Esta pesquisa buscou compreender como se dá a construção do quadro cinematográfico dentro da obra da cineasta norte-americana Sofia Coppola a partir da análise de cinco de seus filmes: As virgens suicidas (1999), Encontros e desencontros (2003), Maria Antonieta (2006), Um lugar qualquer (2010) e Bling Ring: a gangue de Hollywood (2013). Para esse fim, se produziu um percurso histórico do cinema moderno na Europa e nos Estados Unidos no século XX, assim como do cinema independente norte-americano, contextualizando a obra da diretora dentro do movimento indie dos anos 1990. A fundamentação teórica estruturou-se a partir de conceitos e de ideias de Gilles Deleuze, Henri Bergson e André Bazin sobre a imagem. O processo da análise se baseou na metodologia da cartografia e dissecação audiovisual, de Deleuze, Félix Guattari e Walter Benjamin, trabalhando com as imagens nos filmes de Coppola, buscando entender como elas interagem entre si e o sentido que exprimem por meio dos elementos dentro do quadro. Através da análise se compreendeu como Coppola utiliza elementos como o corpo feminino, o olhar dos personagens, a vagueação e molduras secundárias para refletir sobre a sociedade contemporânea onde essas imagens são produzidas. / This research tried to understand how the construction of the cinematic frame works within the movies of north-American director Sofia Coppola, through the analysis of five of her films: The virgin suicides (1999), Lost in translation (2003), Marie Antoinette (2006), Somewhere (2010) and The Bling Ring (2013). To this end, the history of modern cinema in Europe and the United States in the 20th century was researched, as well as the history of independent cinema in America, contextualizing the director’s work within the indie movement of the 1990s. Theoretical foundation was based on concepts and ideas developed by authors Gilles Deleuze, Henri Bergson and André Bazin about images. The analysis process was based on the cartography and audiovisual dissection methodologies, by Deleuze, Félix Guattari and Walter Benjamin, working the images in Coppola’s movies, trying to understand how the interact with themselves and the meaning the express through the elements in the frame. Through the analysis it was understood how Coppola utilizes elements such as the feminine body, the character’s gaze, wanderings and secondary framing to reflect on the contemporary society where these images are produced.

Las relaciones existentes entre el cinematógrafo y las artes plásticas durante las primeras décadas del siglo XX son una de las señas de identidad de un período artístico protagonizado por los movimientos vanguardistas. En efecto, fotografía y cine se unen a pintura y escultura en el maremagno de creatividad y experimentación que vivió el arte al calor de las vanguardias históricas. Pese a ser numerosas y evidentes las influencias que el cine recibió de las artes plásticas en esas primeras décadas del siglo, lo que se quiere abordar en esta investigación no es esta vinculación sino, precisamente, su inversa. De lo que se trata, pues, es de investigar, evidenciar y explicar las influencias del medio cinematográfico en las artes plásticas, a nivel formal, expresivo o iconográfico, influencias que, como es lógico, resultan especialmente significativas en la pintura. / The existing relations between the cinematograph and the plastic arts during the first decades of the 20th century are one of the identity signs of an artistic period led by the avant-garde movements. In fact, photography and cinema join painting and sculpture in the maremagnum of creativity and experimentation that art lived with the historical avant-garde. In spite of the fact that the influences that cinema received from plastic arts in these first decades of the century are numerous and evident, what must be faced in this investigation is not this link but, precisely, his opposite. What we are dealing with, thus, is investigating, demonstrating and explaining the influences of the cinematographic means in the plastic arts, at a formal, expressive or iconographic level, influences that, naturally, turn out to be specially significant on painting.