Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2018-04-25T14:04:59Z No. of bitstreams: 2 Fabiana _Pedrolo2018.pdf: 2091792 bytes, checksum: 2e772c59d55f813a720a04f28bd36146 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-25T14:04:59Z (GMT). No. of bitstreams: 2 Fabiana _Pedrolo2018.pdf: 2091792 bytes, checksum: 2e772c59d55f813a720a04f28bd36146 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-26 / This research presents an analysis of the cinematographic work The Unbearable Lightness of Being (1987) directed by Philip Kaufman, a movie based on the homonymous literary work of the Czech writer Milan Kundera. Based on their main characters – Tereza, Tomaz, Sabina and Franz –, the preponderant characteristics of these characters were pointed out, aiming at comparing them in terms of the perception of freedom that each presents, as well as the inherent aspects of the poetry cinema present in this production which help in the construction of the imaginary and literary senses. For such an approach, it was necessary as theoretical reference, the authors found in the philosophy that conceptualize and treat the theme of freedom as Jean-Paul Sartre and Simone de Beauvoir, philosophers considered referential about the main existentialist current guiding the term concept. Aiming at the confluence between literature, cinema and philosophy, this study proposes, above all, the poetic interpretation of a cinematographic work, the amplification of meanings through the lyrical elements and also, corroborate so that the characteristic aspects to the cinema of poetry, proposed by Pier Paolo Pasolini, are identified and recognized even in postmodern works, produced long after the filmmaker, such as Lavoura Arcaica (2001) by Luiz Fernando Carvalho or the films of Peter Greenway, whose ideas depart from the images to the text and not the other way around. In addition to Pasolini (1981), Carlos Melo Ferreira (2004) and Andrei Tarkovski (1998) were consulted to give subsidies in order to understand how the field of poetry is constructed within cinematographic works. / A presente pesquisa apresenta uma análise da obra cinematográfica A Insustentável Leveza do Ser (1987), direção de Philip Kaufman, filme baseado na obra literária homônima, do escritor tcheco Milan Kundera. Partindo de suas personagens principais – Tereza, Tomaz, Sabina e Franz –, foram elencadas as características preponderantes dessas personagens visando um comparativo entre elas no que tange à percepção de liberdade que cada uma apresenta, bem como aos aspectos inerentes ao cinema de poesia presentes nessa produção que auxiliam na construção dos sentidos imagéticos e literários. Para tal abordagem, mostrou-se necessário que se fizessem presentes, no referencial teórico, os autores encontrados na filosofia que conceituam e tratam do tema da liberdade, como Jean-Paul Sartre e Simone de Beauvoir, filósofos considerados referenciais no que diz respeito à corrente existencialista, principal norteadora do conceito do termo. Visando verificar a confluência entre literatura, cinema e filosofia, este estudo propõe, sobretudo, a interpretação poética de uma obra cinematográfica, a ampliação dos significados através dos elementos líricos e, ainda, corroborar o entendimento de que os aspectos característicos ao cinema de poesia, tal como propostos por Pier Paolo Pasolini, sejam identificados e reconhecidos mesmo em obras pós-modernas, produzidas muito tempo depois do cineasta, como Lavoura Arcaica (2001), de Luiz Fernando Carvalho ou os filmes de Peter Greenway, cujas ideias partem das imagens para o texto e não o contrário. Além de Pasolini (1981), Carlos Melo Ferreira (2004) e Andrei Tarkovski (1998) foram consultados para dar subsídios visando compreender como o campo da poética se constrói dentro das obras cinematográficas.

Made available in DSpace on 2016-04-28T19:58:53Z (GMT). No. of bitstreams: 1 Elcio Silva Nunes Basilio.pdf: 2097768 bytes, checksum: 840ae3c4e307535749c1f674b010ad98 (MD5) Previous issue date: 2014-09-17 / The present research is a comparative study between the novel Lavoura arcaica, by Raduan Nassar, and the homonym film, as well as the observation of the process of intersemiotic translation between literature and cinema. It also aims to establish the relation of poetical expressivity and the representation of love. The analyses is organized in three chapters, starting with the investigation of the evolution of the concept of poetics in literature and the way it is presented in the novel. In the second chapter, the study of love expression is associated with poetry, trying to show how both love and poetry surpass a relation of form and content. By the end, the third chapter consists in the analyses of the audiovisual recreation of the novel, making parallels between the artistic possibilities of both types of language. The theory of poetic was based on authors such as Aristotle, Jakobson, Shklovsky, Valéry and Octavio Paz. The last one, along with Roland Barthes, Georges Bataille, Denis de Rougemont and Plato, guided the parallel traced between love and poetry. André Bazin and Luis Buñuel brought the essential concepts to the cinematographic theory and furthermore in the idea of cinema of poetry: Pier Paolo Pasolini and Andrei Tarkovsky had their writings more cautiously explored. Leyla Perrone-Moisés and Ismail Xavier, for their respective studies about the work of Raduan Nassar and Luiz Fernando Caravalho, were two critic that guided our interpretation / O presente trabalho é um estudo comparado entre o romance Lavoura Arcaica, de Raduan Nassar, e o filme homônimo de Luiz Fernando Carvalho, e a observação do processo de tradução intersemiótica entre literatura e cinema. Busca também relacionar a expressividade poética com a representação do sentimento amoroso. A análise se faz ao longo de três capítulos, começando pela investigação da evolução do conceito de poética dentro da literatura e sua forma de evidenciação no romance. No segundo capítulo, o estudo da expressão amorosa é relacionado ao da poesia, intentando-se demonstrar em que medida amor e poesia ultrapassam uma relação meramente de forma e conteúdo. Por fim, o terceiro capítulo consiste na análise da recriação audiovisual do romance, traçando paralelos entre as possibilidades artísticas dos dois tipos de linguagem. A reflexão teórica sobre poética tomou por base autores como Aristóteles, Jakobson, Chklovski, Valéry e Octavio Paz. Este último, ao lado de Roland Barthes, Georges Bataille, Denis de Rougemont e Platão, orientou a relação traçada entre amor e poesia. André Bazin e Luis Buñuel trouxeram os conceitos básicos no que concerne à teoria cinematográfica, e mais a fundo na ideia de cinema de poesia: Pier Paolo Pasolini e Andrei Tarkovski foram cineastas que tiveram seus escritos remetidos. Leyla Perrone-Moisés e Ismail Xavier, por suas respectivas análises da obra de Raduan Nassar e Luiz Fernando Carvalho, são os críticos que guiaram a leitura desta dissertação a respeito do livro e do filme

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique. / This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films.

Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique. / This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

[pt] Na nova cena da poética da obsolescência, dentro do campo específico do cinema do found footage de vanguarda contemporânea, um cineasta célebre e laureado nos festivais de cinema tem se colocado frontalmente na trincheira em prol do analógico: Peter Tscherkassky (1958-). Esta tese é escrita no entroncamento fulcral entrea sua biografia, a historiografia e teoria do cinema e as análises fílmicas críticas ad hoc de sua filmografia. A metodologia da tese reflete o pensamento excessivo anti-axiomático de Georges Bataille assim como a ideia da constelação intempestiva de Walter Benjamin. Desse modo criamos uma série de afinidades eletivas que compõe uma rede de autores basilares para a tese, sendo eles: Georges Didi-Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas Elsaesser, Roland Barthes, entre outros. Tscherkassky opera uma transgressão da semelhança conforme das imagens, fazendo vir à tona a parte maldita da historiografia cinematográfica. No lugar de uma ontologia indexical clássica, ele nos faz adentrar no campo da hantologia, na condição estrutural do cinema enquanto espectros. Seu trabalho é uma tentativa genealógica de reencantamento com as imagens do cinema hoje apaziguado pelo controle da teleologia narrativa do cinema comercial e da dominância do regime representativo. / [en] At the intersection between the museum and the movie theater, a number of contemporary artists have been investigating the corporeality of analog images. In this new scene of the poetics of obsolescence, within the specific field of contemporary found footage avant-garde cinema, our object of study, the Austrian Peter Tscherkassky (1958-) occupies a prominent place. The thesis is written at the central injunction of three lines: i - The biography and critical fortune of the director; ii- the dialogue with a classical historiography and film theory; and iiithe ad hoc critical film analysis of his filmography. In an inflection with Georges Bataille s excessive anti-axiomatic and formless thought and, as well, into Walter Benjamin s idea of constellation, we seek to create a series of elective affinities that compose a network of authors that are fundamental to the thesis, namely: George Didi -Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas Elseasser, Roland Barthes, among others. From a genealogical and extemporaneous re-elaboration of the filmic ruin, he operates a transgression of the mimesis and the conform similarity of the images, bringing to light the cursed part of cinematographic historiography. Instead of a classic indexical ontology, Tscherakassky takes us into the field of hauntology, in other words, the structural condition of cinema as specters.His work would be a genealogical attempt of re-enchantment with images of cinema that are today appeased by the control of narrative teleology and the representative regime. We conclude that the filmmaker s extemporaneous and anachronistic cinema are strong responses and symptoms of problematics of the contemporary cinema scene.