Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-04-02T15:27:10Z No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-04-06T14:02:30Z (GMT) No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) / Made available in DSpace on 2018-04-06T14:02:30Z (GMT). No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) Previous issue date: 2018-02-07 / Essa disserta??o investiga como se d? a forma simb?lica atuante no hibridismo est?tico presente nos filmes de Jean-Luc Godard, especificamente em O Dem?nio das Onze Horas (Pierrot Le Fou, 1965), Paix?o (Passion, 1982) e Adeus ? Linguagem (Adieu Au Langage, 2014), no que toca a rela??o entre cinema e pintura. Duas quest?es centrais nortearam o foco desta investiga??o: como se d? a constru??o simb?lica da maneira pict?rica de Godard? Os elementos pict?ricos presentes na narrativa f?lmica se prop?em realmente a construir significados e transmitir sensa??es reais como as do movimento impressionista nas pinturas? A rela??o entre cinema e pintura na obra de Godard ? trabalhada aqui no contexto de promover um di?logo entre as artes e a comunica??o. Partindo do pressuposto de que filmes s?o objetos art?sticos que comunicam por meio de elementos simb?licos, este trabalho busca identificar a forma simb?lica de Godard dentro de uma linguagem h?brida por meio da an?lise de elementos como a cor e a luz. / This research aimed to expand the existing studies regarding the relationship between cinema and painting, investigating how the symbolic form acting in the hybridism present in the films of French film director Jean-Luc Godard. The dissertation is developed in two chapters. The first chapter, entitled "From pictorial to cinematographic", focuses on cinema and its transformations concerning the ways to represent the "real", emphasizing the French New Wave and Godard?s cinema. In the second chapter, entitled ?Cinema, painting and hybrid language in Jean-Luc Godard?, after defining the concept of hybridism and its applicability, regarding the use of color, to the aspects of symbolic, hybrid and intertextual representation in the cinema, the films Pierrot Le Fou (1965), Passion (1982) e Goodbye to Language (2014) are analyzed in light of Vanoye and Goliot-L?t? (1994), Penafria (2009) and Rose (2003). Throughout the text, the relationship between cinema and painting in Godard's work is carried out with a view to promoting a dialogue between art and communication. Two questions guided the investigation: how does the symbolic construction of Godard's pictorial way take place? Do the pictorial elements present in the filmic narrative really propose to construct meanings and transmit real sensations like those of the Impressionist movement in the paintings? In the understanding achieved by the research, it is affirmed that symbolism and poetics are inherent in cinema and painting in the film production of Jean-Luc Godard.