Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-06T17:56:25Z No. of bitstreams: 1 tese 02.doc: 43544576 bytes, checksum: 6a0884a8c085eef565a5698bf0fb94a5 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:20:57Z (GMT) No. of bitstreams: 1 tese 02.doc: 43544576 bytes, checksum: 6a0884a8c085eef565a5698bf0fb94a5 (MD5) / Made available in DSpace on 2018-09-11T13:20:57Z (GMT). No. of bitstreams: 1 tese 02.doc: 43544576 bytes, checksum: 6a0884a8c085eef565a5698bf0fb94a5 (MD5) / Este trabalho investiga o constante diálogo que o artista plástico e cineasta Peter Greenaway estabelece entre os diversos campos da arte, analisando quatro de seus filmes, a partir de sua força poética e natureza híbrida. Greenaway localiza o seu cinema num território ambíguo que se encontra na fronteira do próprio cinema, do teatro e das artes plásticas. Dessa forma, ele cria uma rede de significados que se deslocam em várias direções e níveis, provocando um forte trânsito de imagens. Seus desenhos e pinturas, vistos em exposições, assim como composições visuais concebidas para óperas contemporâneas e instalações artísticas, migram para os seus filmes. A maneira que ele define os planos cinematográficos é, muitas vezes, presidida pela simetria e perspectiva da pintura renascentista ou pelo excesso formal do Barroco. Greenaway volta a essas tradições, cruzando-as com a tecnologia e a arte contemporâneas. Ele fragmenta o plano cinematográfico em quadros simultâneos, referindo-se à pintura cubista. Transferindo a sua narrativa para um espaço antilusionista, Peter Grenaway insiste na artificialidade da linguagem cinematográfica. / This work investigates the constant dialog that the painter and filmmaker Peter Greenaway establishes among the several fields of art, analyzing four of his films, starting from their poetic power and hybrid nature. Greenaway places his cinema in an ambiguous territory, which is embedded among cinema itself, the theatrical and the visual arts. Therefore he creates a web of meanings, which mingle through several directions and many levels, resulting in a dense transit of images. His drawings and paintings, shown in art galleries, as well as his visual compositions to contemporary operas and art installations, often migrate into his films. The way he defines his cinematic framings and compositions is often presided by symmetry and perspective originated in the renascence painting or the excessive formalism from the baroque period. Greenaway returns to those traditions and relates them to technology and contemporary art. He fragments the cinematic composition into simultaneous “framings within frame”, referring to cubist painting. Transferring his narrative to an antillusionist realm, Peter Greenaway insists on the artificiality of the cinematic language.

Estudo centrado nas trucagens eletrônicas digitais utilizadas por Peter Greenaway a partir dos anos 80, no âmbito das tradições cinematográficas e da evolução tecnológica audiovisual. Conceitua-se suas intervenções técnicas e artísticas no campo dos efeitos especiais e das trucagens cinematográficas. O método de análise utilizado combina a dramaturgia da forma, enunciada por Sergei Eisenstein, com as tradições artísticas das composições do visual music, iniciado nos anos 20, e as teorias da física mecânica e seus movimentos ondulatórios. As reflexões construídas nessa pesquisa nos permitem reconhecer um amplo sistema de referências utilizado por Greenaway para desenvolver a sua dramaturgia da forma a partir das trucagens eletrônicas digitais. Diversas categorias propostas por Eisenstein foram revigoradas por Greenaway e estão sendo enriquecidas com novas formulações que apontam para o desenvolvimento de uma prática inovadora na cinematografia em geral. / Study focused on electronic digital trick-film used by Peter Greenaway from the\'80s, under the traditions of film and audiovisual technology developments. The concept is its technical and artistic interventions in the field of special effects and trick-films. The analysis method used combines the form dramaturgy, provided by Sergei Eisenstein with the artistic traditions of the visual music compositions, starting in the 20s, and the theories of physics and mechanical wave motion. The reflections made in this study allow us to recognize an extensive system of references used by Greenaway to develop their theater the way from trucagens electronic fingerprints. Categories proposed by Eisenstein were reinvigorated by Greenaway and are enriched with new formulations that point to the development of an innovative practice in the film industry in general.

Estudo centrado nas trucagens eletrônicas digitais utilizadas por Peter Greenaway a partir dos anos 80, no âmbito das tradições cinematográficas e da evolução tecnológica audiovisual. Conceitua-se suas intervenções técnicas e artísticas no campo dos efeitos especiais e das trucagens cinematográficas. O método de análise utilizado combina a dramaturgia da forma, enunciada por Sergei Eisenstein, com as tradições artísticas das composições do visual music, iniciado nos anos 20, e as teorias da física mecânica e seus movimentos ondulatórios. As reflexões construídas nessa pesquisa nos permitem reconhecer um amplo sistema de referências utilizado por Greenaway para desenvolver a sua dramaturgia da forma a partir das trucagens eletrônicas digitais. Diversas categorias propostas por Eisenstein foram revigoradas por Greenaway e estão sendo enriquecidas com novas formulações que apontam para o desenvolvimento de uma prática inovadora na cinematografia em geral. / Study focused on electronic digital trick-film used by Peter Greenaway from the\'80s, under the traditions of film and audiovisual technology developments. The concept is its technical and artistic interventions in the field of special effects and trick-films. The analysis method used combines the form dramaturgy, provided by Sergei Eisenstein with the artistic traditions of the visual music compositions, starting in the 20s, and the theories of physics and mechanical wave motion. The reflections made in this study allow us to recognize an extensive system of references used by Greenaway to develop their theater the way from trucagens electronic fingerprints. Categories proposed by Eisenstein were reinvigorated by Greenaway and are enriched with new formulations that point to the development of an innovative practice in the film industry in general.

This thesis is an attempt to explore the &ldquo / axis of innumerable relationships&rdquo / of the book which Jorge Luis Borges touches upon. In doing this, it deals with the questions of &ldquo / whats&rdquo / , &ldquo / whos&rdquo / , &ldquo / whens&rdquo / and &ldquo / wheres&rdquo / of the reading activity. While scrutinizing these aspects of reading, the main concern is to reach the &ldquo / whys&rdquo / and &ldquo / hows&rdquo / of it. Referring to Roger Chartier&rsquo / s definition of reading, there are three main components of this activity, as the content of the book, the material form of the book and the practice itself and they are aimed to be analyzed in detail. In this context, the questions of &ldquo / wheres&rdquo / and &ldquo / whens&rdquo / and their various answers create an intertwined area of history of reading and history of architecture. Within this theoretical framework, the scope of the thesis is shaped by Peter Greenaway&rsquo / s cinematography. The questions of &ldquo / who reads/writes what book&rdquo / , &ldquo / where and when&rdquo / are searched in the director&rsquo / s three films / The Cook, the Thief, his Wife and her Lover (1989), Prospero&#039 / s Books (1991) and The Pillow Book (1996) by devoting one chapter to each film. Accordingly, the question of &ldquo / who&rdquo / orients the study to the bodies of the books/readers/writers, and those of &ldquo / where&rdquo / and &ldquo / when&rdquo / to architectural history. In connection to the director&rsquo / s multidisciplinary interests, the thesis seeks to trace how this topic is intertwined not only with history of architecture but also with the history of art and literature. Hence, it is an attempt to utilize Greenaway&rsquo / s cinematography as a tool to juxtapose the two/three dimensional representations of the book, the body and the spaces onto each other.

Ce mémoire explore la place de l’interartialité, des relations entre les arts, dans le cinéma de Peter Greenaway, et les fonctions qu’elle y remplit. À l’occasion de l’analyse de deux films qui centralisent la figure du peintre et la forme du contrat - The Draughtsman’s Contract et Nightwatching – et prenant comme point de départ théorique les travaux de Walter Moser, nous identifions et analysons quelques-unes des relations interartielles à l’oeuvre dans ces films, pour montrer que la mise en relation des arts de la peinture, du théâtre et du cinéma, dans leurs rapports biartials et pluriartials, constituent la trame fondamentale des films de Greenaway, dans une « interartialité non hiérarchique ». Nous concluons que le recours au dialogue interartiel permet au cinéaste d’esquisser, en filigrane, une posture critique sur l’art et l’artiste, une « théorie de l’art », par laquelle il exprime un point de vue sur le rôle et le statut de l’artiste au sein de la société. / Taking its theoretical starting point from the work of Walter Moser in interartiality, this thesis explores the place and function of interatiality (relationships between the arts) in the cinema of Peter Greenaway. The Draughtsman’s Contract and Nightwatching, two films that focus on the figure of the painter and the form of the contract, are examined for the purpose of identifying and analysing some of the interartial relationships at work in them and thereby demonstrating that the interconnecting of painting, theatre and cinema in bi- and pluri-artial relationships constitutes a basic framework of “non-hierarchical interartiality” in Greenaway’s films. The conclusion is reached that reliance on interart dialogue allows the filmmaker to assume an implicit critical stance in regard to art and the artist – a “theory of art” that expresses a point of view on the artist’s role and status in society.

Ce mémoire explore la place de l’interartialité, des relations entre les arts, dans le cinéma de Peter Greenaway, et les fonctions qu’elle y remplit. À l’occasion de l’analyse de deux films qui centralisent la figure du peintre et la forme du contrat - The Draughtsman’s Contract et Nightwatching – et prenant comme point de départ théorique les travaux de Walter Moser, nous identifions et analysons quelques-unes des relations interartielles à l’oeuvre dans ces films, pour montrer que la mise en relation des arts de la peinture, du théâtre et du cinéma, dans leurs rapports biartials et pluriartials, constituent la trame fondamentale des films de Greenaway, dans une « interartialité non hiérarchique ». Nous concluons que le recours au dialogue interartiel permet au cinéaste d’esquisser, en filigrane, une posture critique sur l’art et l’artiste, une « théorie de l’art », par laquelle il exprime un point de vue sur le rôle et le statut de l’artiste au sein de la société. / Taking its theoretical starting point from the work of Walter Moser in interartiality, this thesis explores the place and function of interatiality (relationships between the arts) in the cinema of Peter Greenaway. The Draughtsman’s Contract and Nightwatching, two films that focus on the figure of the painter and the form of the contract, are examined for the purpose of identifying and analysing some of the interartial relationships at work in them and thereby demonstrating that the interconnecting of painting, theatre and cinema in bi- and pluri-artial relationships constitutes a basic framework of “non-hierarchical interartiality” in Greenaway’s films. The conclusion is reached that reliance on interart dialogue allows the filmmaker to assume an implicit critical stance in regard to art and the artist – a “theory of art” that expresses a point of view on the artist’s role and status in society.