This dissertation will examine the relationship between the narrative styles of the art cinema and those of mainstream contemporary American cinema. In particular: it will focus on a unique style of narration used in the art cinema since the early decades of the 20th century, contending that “multiform narrative”—a concept adopted from the work of Janet Murray—offers a useful framework for analyzing this style. The key structural features of the “multiform narrative” are its multiple narrative strands and multiple ontologies, and it is the latter feature that sets it apart from other narrative styles. It will argue that “multiform narratives” differ from the unified narratives of classical Hollywood cinema in their use of multiple narrative strands. However, they also differ from multi-strand narratives of American independent cinema in their use of multiple realities. The usefulness of the “multiform” as a category will be demonstrated through a consideration of a diverse group of films ranging from The Cabinet of Dr. Caligari (Robert Weine, 1919) to Rashomon (Akira Kurosawa, 1951), as well as through contemporary multiple-ontology films such as Mulholland Drive (David Lynch, 2001), Memento (Christopher Nolan, 2000), and Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004). These contemporary films share many narrative and aesthetic characteristics of the earlier multiform films that have become exemplars of “modernist” and/or “art cinema,” even though they have emerged from very different social and institutional contexts. In this respect, the category of the “multiform” will be shown to offer both a flexibility and specificity that is not provided by earlier concepts. Consequently, it provides a framework for analyzing films from different movements and time periods with similar narrative structures that have yet to be considered together on this basis. As a result, the multiform will be shown to close a research gap in the field of complex narrative in the cinema and to provide a helpful refinement to the evolving taxonomy of narrative forms. In addition, it will be argued that a further distinction can be made within the category of the multiform itself through the identification of a style of multiform film that uses subjective realist narration to create its alternate ontological levels. Subjective realism presents the internal world of a character as if it were as real as other levels of narration and, in the films that will be considered, subjective realist strands are used to represent the dreams, hallucinations, and/or lying flashbacks of key characters within the films. A historical overview of subjective realist multiform cinema from 1919 to the present will be offered, and it will be argued that the innovative and challenging contemporary films which employ this narrative structure are aesthetically and narratively indebted to their precursors in the art cinema, but are also informed by recent technological developments as well as contemporary production and reception contexts. They will be shown to be part of a cycle of films emerging in the mid-1990s that has offered multiplex audiences narrative pleasures of the type formerly reserved for the denizens of art house cinema.

Made available in DSpace on 2016-04-26T18:15:33Z (GMT). No. of bitstreams: 1 Leticia Xavier de Lemos Capanema.pdf: 15292531 bytes, checksum: a9c7565d1fb55a5c78dcdbd7ae88287a (MD5) Previous issue date: 2016-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research investigates the television narratology starting from the fact that the fictional production in television has become more complex in recent decades. Considering that the phenomenon of fiction complexity manifests in a distinct sort of supports (oral, scenic, book, cinematic, televisual or hypermedia), what are the features that allow certain works to be classified as complex narratives? There would be an underlying logic that guide and connect them? This thesis holds the hypothesis that there is a fundamental logic of complex narrative permeating all its concrete manifestations: the self-referentiality, namely, the movement of turning back on itself, generating a metareflective reception by the public. Therefore, the specific objective is to investigate the relationship between the complex narrative and the selfreferentiality, as well as its mechanisms and effects in television studies. The main objective of this thesis is to achieve a precise concept of narrative complexity in fiction television that contributes to the solidification of its narratology. The theoretical object of this study is the notion of complex narrative and the empirical object are the manifestations of the narrative complexity in literary fiction, filmic fiction and especially the televisual fiction. The corpus is the american TV series Twin Peaks. In order to clarify some specific concepts, other television programs are briefly examined. Our methodological procedure relies both on Paul Ricoeur's mimetic circle model and on the narratology of Genette, adapted by André Gaudreault and Francois Jost for audiovisual application. Our theoretical argument about the relationship between the complex narrative and the self-reference is based on Alfonso Romano de Sant'Anna and several other authors who also analyzed self-reference in literature, film and television. The principle of self-referentiality, its types, modes and performance levels are explored based on the approaches of Werner Wolf and Winfried Nöth. The results achieved in this study allow us to conclude that the complex narrative is a phenomenon resulting from self-referential strategies present in instances of content, structure and the narrative act / Esta pesquisa trata do tema da narratologia da televisão e parte do constatação de que a produção ficcional televisual tem se complexificado nas últimas décadas. Considerando que o fenômeno da complexidade comparece em ficções de naturezas distintas (orais, cênicas, escriturais, fílmicas, televisuais ou hipermidiáticas), quais seriam as características que permitem que certas obras sejam classificadas como narrativas complexas? Haveria uma lógica subjacente que as orienta, interligando-as? Esta tese sustenta a existência de uma lógica fundamental da narrativa complexa que perpassa todas as suas manifestações concretas: a autorreferencialidade, isto é, o movimento de voltar-se sobre si, gerando, em consequência, a recepção metarreflexiva por parte do público. Por esse caminho investigamos, como objetivos específicos, a relação entre a narrativa complexa e o fenômeno da autorreferencialidade, bem assim, seus mecanismos e efeitos no campo da televisão. O objetivo principal desta tese é alcançar um conceito preciso de complexificação narrativa na ficção televisual que contribua para a solidificação de uma narratologia da televisão. Este estudo tem como objeto teórico a noção de narrativa complexa e como objeto empírico as manifestações de complexidade narrativa na ficção literária, fílmica e, principalmente, a ficção televisual. Elegemos como corpus a série estadunidense Twin Peaks. Com o intuito de esclarecer conceitos específicos, outras obras televisuais são brevemente examinadas. Nossa ferramenta metodológica apoia-se no modelo do círculo mimético de Paul Ricoeur e na narratologia de Gérard Genette, essa última adaptada por André Gaudreault e François Jost para aplicação ao campo audiovisual. Nossa argumentação teórica sobre a relação entre narrativa complexa e autorreferência se inspira nos estudos de Affonso Romano de Sant'Anna e de diversos outros autores que também tematizam a autorreferência nos campos da literatura, do cinema e da televisão. O princípio da autorreferencialidade, seus tipos, modos e níveis de atuação são por nós explorados com base nas abordagens de Werner Wolf e de Winfried Nöth. Os resultados alcançados nesta pesquisa permitem-nos concluir que a narrativa complexa é um fenômeno decorrente de estratégias autorreferenciais presentes nas instâncias do conteúdo, da estrutura e do ato narrativo

Made available in DSpace on 2016-04-28T19:59:22Z (GMT). No. of bitstreams: 1 Maria Aparecida da Silva Santos.pdf: 412401 bytes, checksum: df5b9eb60c00bdef11eafb9a44038e45 (MD5) Previous issue date: 2010-05-18 / Secretaria da Educação do Estado de São Paulo / This dissertation is centered at the structural reading of the Mário de Andrade s anthology, CONTOS NOVOS and its discursive, discontinuous and innovated process of the literary tales genre. The chosen corpus is composed by the following stories: Vestida de Preto, O Peru de Natal and O Poço. These stories present specifics aims: To illustrate the geniality of the author about the enlargement of the limits of his esthetic scheme of the literary tales genre; the modern man and his alterity which comes from his identity; the questions about o fazer literário ; the transgression of literary language; the linguistics experiments; the Brazilian language assimilation and stylization; the textual performance of the storyteller, the character, and the reader, who is merged in hypertextual connections suggested by the main subject of the literary tales. Our hypothesis is very well demonstrated and supported by the subsequent authors and their theories: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Manual Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, and Wayne Booth, among other ones. It is also supported by Mário de Andrade s interview, as well as by his private letters and articles. This academic study exposes the subthemes as follows: The first chapter exibites an idea about the course, the structural features and the metamorphosis of the literary tales genre, including the oral tradition and even the modern literary writing. This chapter also lists the Brazilian tales writers, mainly Mário de Andrade, in the context of the modernism; his latest guidelines and connections, according to the non-linear logic, antecipating the structure of the modern novel. The second chapter describes the multifaceted narrative process, the storyteller and his many-sided expressions in CONTOS NOVOS: interconnections between first- person tales, which is showed by the storyteller-character relationship: from the oral to the written word. The third chapter demonstrates our focal hypothesis that says about the hypertext structure which is inside the multi-linear system of the CONTOS NOVOS; This chapter shows the importance of the memory and of the imaginary word in the construction of the narrative process and also shows all the experimental procedures of the storyteller-character, relating memory experience: interaction, alterity and identity are in the base of the new hypertextual content in a dramatic unit / O objetivo desta dissertação está centrado na leitura estrutural da antologia de Mário de Andrade, CONTOS NOVOS e seu processo discursivo descontínuo inovador do gênero conto. O corpus escolhido, os contos: Vestida de Preto, O Peru de Natal e O Poço apresenta objetivos específicos: evidenciar a genialidade do autor em relação à proposta estética de ampliação das fronteiras do gênero conto; a temática do homem moderno, e sua identidade a partir da alteridade; a preocupação com o fazer literário ; a transgressão da linguagem literária; os experimentos lingüísticos; a incorporação e a estilização da língua brasileira ; as performances do jogo textual do narrador, da personagem e do leitor imersivo em conexões hipertextuais sugeridas pelas matrizes dos contos. Esta é a nossa hipótese demonstrada e sustentada pela leitura de alguns teóricos e suas teorias: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Mário de Andrade, Manuel Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, Paul Ricoeur, Lúcia Santaella, Fernando Segolin, João Luiz Lafetá, Luis Costa Lima, Telê Ancona Lopez, Nádia Gotlib, Massaud Moisés, Anatol Rosenfeld, Wayne Booth, bem como os testemunhos do próprio Mário de Andrade, a partir de entrevistas, correspondências e artigos particulares do autor. O desenvolvimento dissertativo considerou as seguintes subtemáticas: Capítulo I apresenta o percurso, os traços estruturais e as metamorfoses do gênero do conto, desde a tradição oral até a escritura literária moderna, apontando os contistas brasileiros, em especial Mário de Andrade, no alvorecer do Modernismo brasileiro; suas novas diretrizes e conexões do conto sob o tratamento da lógica alinear, profetizando a estrutura do romance moderno. O capítulo II descreve o complexo processo narrativo, o narrador e suas máscaras presente em CONTOS NOVOS: interconexões entre os contos de primeira pessoa evidenciados no movimento do narrador-personagem em saltos discursivos: da oralidade à escrita. O capítulo III evidencia nossa hipótese central referente à presença da estrutura do hipertexto no sistema multilinear dos CONTOS NOVOS; a importância da memória e do imaginário no processo narrativo e os procedimentos experimentais do narradorpersonagem em trabalho de relato de experiência memorialística: interação, alteridade, identidade sob novas matrizes hipertextuais em uma única célula dramática