The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.

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Made available in DSpace on 2015-05-14T12:39:30Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1295433 bytes, checksum: e8344b7ad6552a5abb171e0ef4e3a222 (MD5) Previous issue date: 2011-04-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Narratology has been proven a fruitful study field when applied to audio-visual languague. This may be because ever since its inception, cinema represented a new form of artistic expression with which to tell stories. This tendency acquires different expressions because of production contexts and the many ways its own language can be articulated. Other art forms, such as literature and theather, already have vast theoretical studie fields regarding their narrative processes, but in the film medium this study field is still little explored. Beyond the systematisation of its narrative codes, to study audio-visual narratology requires an added depth regarding its aesthetical possibilities. Is this research, we will analyze the film Cão sem dono, directed by Beto Brant and Renato Ciasca and adapted from the novel Até o dia em que o cão morreu, by Daniel Galera. Our interests lie in using the adaptative process as a starting point to elucidate questions regarding audio-visual narratives, specifically the concepts of focalization and character and their implications on filmic discourse. For that, we'll use theoretical references of authors dedicated to those categories of literary narrative, such as Gérard Genette, Antonio Candido and Alfredo Carvalho, and others who have proposed more consistent views on the particularities of audio-visual narratology, including François Jost and André Gaudreault, Marcel Martin and João Batista de Brito. It s also our intent to relate some characteristics of the film Cão sem dono with a tendency that s growing very strong in contemporary film. In order to achieve that goal we present a look into the writings of Christian Metz, Gilles Deleuze and André Bazin, regarding dramatic structure and the narrative procedures characteristic of modern film. / A narratologia tem se mostrado um fecundo campo de estudo na reflexão da linguagem audiovisual. Isto porque, desde a sua origem, o cinema foi incumbido de exercer o papel de ser uma nova expressão artística capaz de contar histórias. Esta sua tendência adquire diferentes feições tendo em vista o contexto de produção e as diversas formas de articulação de sua linguagem. Porém, enquanto outras artes já possuem um vasto pensamento teórico acerca de seus procedimentos narrativos, como a literatura e o teatro, no cinema este estudo ainda é pouco explorado. Para além da sistematização de seus códigos narrativos, estudar a narratologia audiovisual requer o aprofundamento de suas possibilidades estéticas. Nesta pesquisa, iremos analisar o filme Cão sem dono, dirigido por Beto Brant e Renato Ciasca, adaptado do romance Até o dia em que o cão morreu, do escritor Daniel Galera. Interessa-nos principalmente pensar o processo adaptativo como ponto de partida para elucidar questões relativas à narrativa audiovisual, mais especificamente os conceitos de focalização e personagem e suas implicações no discurso fílmico. Para isso, buscaremos referencial teórico em autores que se debruçaram sobre essas categorias na narrativa literária, como Gérard Genette, Antonio Candido e Alfredo Carvalho, além de outros que já propuseram reflexões mais consistentes sobre as particularidades da narratologia audiovisual, como François Jost e André Gaudreault, Marcel Martin e João Batista de Brito. Também faz parte de nosso intuito relacionar alguns indícios do filme Cão sem dono com um painel mais amplo que configura uma forte tendência no cinema contemporâneo. Para pensar este cinema de hoje, sugerimos uma reflexão sobre as considerações dos teóricos Christian Metz, Gelles Deleuze e André Bazin, em torno da estrutura dramática e dos procedimentos narrativos característicos do cinema moderno.

A dissertação Vidas secas, do livro ao filme se propõe a fazer um estudo da estrutura e da questão narrativa das obras Vidas secas, livro de Graciliano Ramos e do filme homônimo de Nelson Pereira dos Santos, levando-se em consideração as diferenças entre os dois meios, os fenômenos decorrentes da adaptação, as circunstâncias de produção e a distância temporal entre as duas obras. A adaptação é mais uma questão de diálogo e admiração do que de diferenças fundamentais entre os autores. Mais do que ser apenas a adaptação de uma obra-prima da literatura nacional, a leitura cinematográfica que Nelson Pereira dos Santos fez de Vidas secas de Graciliano Ramos quis também ser uma intervenção na conjuntura política contemporânea, nesse caso como parte do debate então vigente sobre a reforma agrária e a estrutura social brasileira na década de 1960. O que pretendemos com esta dissertação é, valendo-se de diversos embasamentos teóricos ligados aos Estudos Comparados e à Literatura Comparada, chegar a uma leitura analítica focada na compreensão da construção das duas formas narrativas de Vidas secas: romance (livro / narrativa original / linguagem literária) e filme (produto final de uma releitura audiovisual / linguagem cinematográfica / The dissertation Barren Lives, from book to film aims to comparatively study the structure and the issue of narration in Graciliano Ramoss book Vidas secas and in Nelson Pereira dos Santos film Vidas secas, taking into consideration the differences between literature and film, the patterns created by the process of adaptation, the circumstances within which the two works were produced and the temporal lap between the two pieces. Adapting a book into film is, in our opinion, much more a matter of admiration and dialogue than of establishing differences between one piece of work and the other. More than an adaptation of one of the Brazilian contemporary literatures masterpieces into film, the cinematic reading of Vidas secas made by Nelson Pereira dos Santos also aimed to intervene in its contemporary Brazilian political life, especially in the debate concerning the land ownership and the Brazilian social structure in the 1960s. In this dissertation, our aim is to build up an analytical reading of these two works, based on some concepts from Comparative Studies and Comparative Literature, trying to better understand the two pieces different structures, the books original literary narrative and the films cinematic narrative, considering the latter a result of an audiovisual comprehension and re-creation of the first.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

A dissertação Vidas secas, do livro ao filme se propõe a fazer um estudo da estrutura e da questão narrativa das obras Vidas secas, livro de Graciliano Ramos e do filme homônimo de Nelson Pereira dos Santos, levando-se em consideração as diferenças entre os dois meios, os fenômenos decorrentes da adaptação, as circunstâncias de produção e a distância temporal entre as duas obras. A adaptação é mais uma questão de diálogo e admiração do que de diferenças fundamentais entre os autores. Mais do que ser apenas a adaptação de uma obra-prima da literatura nacional, a leitura cinematográfica que Nelson Pereira dos Santos fez de Vidas secas de Graciliano Ramos quis também ser uma intervenção na conjuntura política contemporânea, nesse caso como parte do debate então vigente sobre a reforma agrária e a estrutura social brasileira na década de 1960. O que pretendemos com esta dissertação é, valendo-se de diversos embasamentos teóricos ligados aos Estudos Comparados e à Literatura Comparada, chegar a uma leitura analítica focada na compreensão da construção das duas formas narrativas de Vidas secas: romance (livro / narrativa original / linguagem literária) e filme (produto final de uma releitura audiovisual / linguagem cinematográfica / The dissertation Barren Lives, from book to film aims to comparatively study the structure and the issue of narration in Graciliano Ramoss book Vidas secas and in Nelson Pereira dos Santos film Vidas secas, taking into consideration the differences between literature and film, the patterns created by the process of adaptation, the circumstances within which the two works were produced and the temporal lap between the two pieces. Adapting a book into film is, in our opinion, much more a matter of admiration and dialogue than of establishing differences between one piece of work and the other. More than an adaptation of one of the Brazilian contemporary literatures masterpieces into film, the cinematic reading of Vidas secas made by Nelson Pereira dos Santos also aimed to intervene in its contemporary Brazilian political life, especially in the debate concerning the land ownership and the Brazilian social structure in the 1960s. In this dissertation, our aim is to build up an analytical reading of these two works, based on some concepts from Comparative Studies and Comparative Literature, trying to better understand the two pieces different structures, the books original literary narrative and the films cinematic narrative, considering the latter a result of an audiovisual comprehension and re-creation of the first.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

Den här uppsatsen ingår i det forskningsfält som undersöker hur konstnärer skildras i fiktion. Specifikt handlar den om författarroller på film, ett område som beforskats i såväl Tyskland som den anglosaxiska världen (kända exempel är Kirsten Netzows Schriftstellerfilme(2005) samt antologin The Writer on Film (2013)) men knappt alls i Sverige. Den kretsar därför kring svensk film, samtidigt som den anknyter till det internationella fältet. Undersökningen baseras på kunskap om genrer i svensk film samt litteratursociologiska perspektiv. I det senare skiljer den sig från det mesta inom området, inte minst i ambitionen att undersöka sociala och professionella sammanhang kring författarroller på film. Efter inledande breda kapitel om historia och ideal kring författarroller följer undersökningens djupanalyser, vilka fokuserar på filmer inom det spann som kallas relationsfilm. Detta begrepp spänner över en stor del av svensk filmhistoria som kännetecknas av fokus på romantik, familje- och vänskapsrelationer och dessas spänningar, problem och utveckling.        Som fallstudier har valts fem relationsfilmer från olika perioder i svensk filmhistoria: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) samt Kärlek Deluxe (2014).Samtliga dessa filmer har författare i bärande roller och skildrar samtidigt i någon mening händelser inom litteratursamhället, inte minst förlagsbranschen.         Materialet undersöks utifrån fem perspektiv, baserade i kunskap från befintlig forskning: Omgivningar; Genrer, modus och troper; Drivkraft och processer; Relationer samtIdeal och sensmoral.  I undersökningen diskuteras relationsfilmens konventioner såväl i relation till myter och traditioner kring författares kärleksliv som i anslutning till professionella relationer. Bland annat diskuteras tendensen att skildra litteratursamhället som en tudelad värld byggd på – till exempel - konkurrens mellan olika genrer, ”högt och lågt”, eller dolt och offentligt.      En av flera centrala slutsatser är att författarfilmer generellt möjliggör en extra dimension av berättande inom berättelsen, ofta i form av en bok som produceras under handlingens gång, och som förstärker och speglar filmhandlingen. I just relationsfilmer blir detta ett ytterligare lager av den identifikation med författarpositionen som åskådaren bjuds in till. Författarna i dessa filmer är, sammantaget, vardagliga gestalter med allmänmänskliga problem och egenskaper, men ges samtidigt – genom myter om yrket, berättandekonventioner kring kreativitet och skildringar av branschrelationer - fler dimensioner som gör dem till attraktiva protagonister i breda filmgenrer. Uppsatsens titel syftar på just denna balans mellan spänning och vardaglighet, som Anders Marklund kallat ”inte alltför främmande”.      Efter analyskapitlen och diskussionen följer också en skiss till en historik - utan minsta anspråk på fullständighet - över författare i svensk film. / This thesis connects to the research field studying how artists are portrayed in fiction. Specifically, it deals with representations of writers and authorship in film, an area explored both in Germany and in the English speaking world (notable examples are Kirsten NetzowsSchriftstellerfilmefrom 2005 and the anthology The Writer on Filmfrom 2013) but hardly at all in Sweden. This thesis evolves around Swedish film, while also connecting to the international field.     The study is based in knowledge of genres in Swedish film in general as well as in literature sociology. In terms of the latter it differs from many contributions to the area, especially in the ambition to look at the social and professional contexts around the figure of the writer in film.      The initial broad chapters on writer history and myths are followed by five film studies, focusing on one film each within the genre known as ”relationship film” (relationsfilm): films focused on the tensions, problems and developments of romantic relationships as well as those of family and friendship. (The concept itself encompasses a large part of Swedish film history).       The five chosen case studies are relationship films from different eras of Swedish film history: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) and Kärlek Deluxe (2014).The films all feature writers as main or central characters while also depicting events within the world of literature, particularly the publishing industry. The analysis departs in five perspectives, based in existing research on the area: Environments (Omgivningar); Genres, modes and tropes(Genrer, modus och troper); Incentives and processes (Drivkraft och processer); Relations (Relationer) and Ideals and message (Ideal och sensmoral).       The analysis discusses the conventions of relationship films in connection to myths surrounding the love lives of writers as well as to professional relationships in the book trade. One example is the tendency to depict the world of literature as a divided, dual world built on competition between things like different genres, ”highbrow and lowbrow” material or public versus hidden aspects of the creative process.      One conclusion is that writer films in general enables an additional dimension of storytelling within the frame narrative, often in the shape of a book produced during the course of the film, which mirrors and strengthens the message and moral of the story. In relationship films in particular, this can serve to create an extra layer to the identification with the writer position into which the spectator is invited. Writers in these movies are, in general, everyday figures with common, relatable problems and characteristics, but at the same time – through myths about the profession and narrative conventions surrounding creativity - given additional dimensions which make them attractive as protagonists in popular film genres.The title of the thesis, which can roughly be translated as ”No total strangers”, is a paraphrase of the concept ”Inte alltför främmande” (”Not too strange”) by the Swedish movie and literature scholar Anders Marklund. It refers to a central feature of relationship films: the balance between making the central characters relatable and common, and at the same time interesting enough to provide some escapism. In this thesis, it refers to this balance in relation to fictional writers (and others in the book trade) in particular.      In addition to the chapters of analysis and the discussion, I have also included a first draft – without any claims of completeness - for a history of writers in Swedish film.

Fondée sur un corpus de huit films allemands réalisés entre 1919 et 1924 (Das Cabinet des Dr. Caligari, Genuine et Raskolnikow de Robert Wiene, Algol de Hans Werckmeister, Von morgens bis mitternachts et Das Haus zum Mond de Karlheinz Martin, Torgus/Verlogene Moral de Hanns Kobe et Das Wachsfigurenkabinett de Paul Leni), cette étude porte sur l'esthétique et la réception du cinéma expressionniste, dont l'étiquette fait aujourd’hui encore l'objet de confusions. Pour identifier des traits constitutifs de son esthétique, trois axes sont envisagés : la réception critique, l'esthétique fantastique et la réflexivité. Le retour à la première phase de la réception repose sur un corpus de 225 documents d'archives majoritairement inédits, principalement extraits de huit revues de cinéma allemandes, et notamment des trois périodiques qui font alors autorité : Der Kinematograph, Lichtbild-Bühne et Film-Kurier. Le recours aux critiques et aux premières théories esthétiques qui précédent les célèbres ouvrages de Siegfried Kracauer et de Lotte Eisner permet d'appréhender l'horizon d'attente de la critique. Dans le contexte du débat sur la valeur artistique du cinéma, l'expressionnisme est perçu comme l’avènement d'un art du cinéma, caractérisé par la volonté des créateurs de faire œuvre d'art, qui s'exprime par l'unité stylistique, la conception des décors et l'opposition au naturalisme. La réception se fait aussi au prisme du fantastique et témoigne à la fois de l'héritage du romantisme et de l'importance du renouveau du fantastique. L'enjeu de l'analyse filmique proposée est de dégager en quoi la tension entre les deux pôles du fantastique est constitutive d'une esthétique des frontières, à l'origine de la structure narrative, de la configuration de l'espace et d'une réflexion ontologique. Enfin, ambition artistique et fantastique se rejoignent dans l'esthétique d'un cinéma qui se prend lui-même pour objet. En recourant à la notion d'écran second, élaborée dans le cadre de l'énonciation cinématographique, l'analyse identifie des formes de mise en scène du regard et de l'expérience cinématographique, dans leur rapport au désir. / Based on a corpus of eight german films made between 1920 and 1924 (Das Cabinet des Dr. Caligari, Genuine and Raskolnikow by Robert Wiene, Algol by Hans Werckmeister, Von morgens bis mitternachts and Das Haus zum Mond by Karlheinz Martin, Torgus/Verlogene Moral by Hanns Kobe and Das Wachsfigurenkabinett by Paul Leni), this thesis investigates the aesthetics and the reception of German expressionist film. Up until today, there is still some confusion over the definition of expressionist cinema. In order to identify constituent characteristics of its aesthetics, three areas of research are explored: the critical reception, the fantastic aesthetics and the self-reflexivity. The analysis of the first period of reception is based on a corpus of 225 mostly unpublished archival documents. These documents come from eight different film periodicals, mainly from the three leading trade journals of the early twenties: Der Kinematograph, Lichtbild-Bühne and Film-Kurier. By focusing on film reviews and on the first theories of aesthetics that preceeded Siegfried Kracauer's and Lotte Eisner's famous works on Weimar cinema, we get a sense of film critics' expectations back when the movies were first released. In the context of the debate about cinema and its artistic value, expressionism was perceived as the advent of film art, caracterised by the deliberate will of its contributors to create art. This ambition expresses itself through stylistic unity, a very distinctive conception of set designs and an opposition to Naturalism. Expressionist film is also perceived through the lense of the fantastic, which shows both the legacy of German romanticism and the importance of the renewal of fantastic literature and film in Germany. The film analysis of the present work aims at showing how the tension between the two poles of the fantastic is a constituent characteristic of the aesthetics of borders that caracterises expressionist film: it accounts for its narrative structure, its configuration of space and the ontologic reflexion it offers. Finally, cinema itself appears to be one of the main topics of these films. This is both the result of the artistic ambition of expressionist filmmakers and the explanation for their predilection for the fantastic: in some respect, films are fantasies, in that they manipulate the spectator and produce illusions. This is why spectatorship plays a major role in expressionist cinema: thanks to the notion of secondary screen, borrowed from the field of filmic enunciation, our analysis identifies characteristic representations of looks and gazes as well as of cinematic experiences, and reveals their relation to human desires.