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Previous issue date: 2013-06-07 / This research analyses time-memory s route into Alain Resnais cinema, specifically in L anée dernière à Marienbad (1961), once we understand that the French director contrasts from the Nouvelle Vague generation for conceiving in his productions a singular point of view of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves and fragmentations of time and memory. We did a descriptive analysis of the path Resnais took from cinematic language to represent the non- successiveness and the non-linearity of time-memory (going against to what the modern thought attempted to fortify), guided through the semiotic resources aforementioned and how they were used so both dimensions, time and memory, could be represented by cinematic language. Starting with the definition and exposure of some time concepts e of cinematic language, we described the manner by which these elements were portrayed e which way the director expects the audience to receive them and the effects (in the audience) the movie longs for attaining. After having clarified the concepts under which Alain Resnais works, we delineated the director s work in a whole, whence we were able to infer other productions that pronounce the Resnais poetic fiction style. We finished the work com a depth and detailed analysis of L anée dernière à Marienbad (1961), work which conferred prestige to the director and focus on exhibiting temporality and memorialism / This research analyses time-memory s route into Alain Resnais cinema, specifically in
L anée dernière à Marienbad (1961), once we understand that the French director contrasts
from the Nouvelle Vague generation for conceiving in his productions a singular point of view
of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic
resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves
and fragmentations of time and memory. We did a descriptive analysis of the path Resnais
took from cinematic language to represent the non- successiveness and the non-linearity of
time-memory (going against to what the modern thought attempted to fortify), guided through
the semiotic resources aforementioned and how they were used so both dimensions, time and
memory, could be represented by cinematic language. Starting with the definition and
exposure of some time concepts e of cinematic language, we described the manner by which
these elements were portrayed e which way the director expects the audience to receive them
and the effects (in the audience) the movie longs for attaining. After having clarified the
concepts under which Alain Resnais works, we delineated the director s work in a whole,
whence we were able to infer other productions that pronounce the Resnais poetic fiction
style. We finished the work com a depth and detailed analysis of L anée dernière à
Marienbad (1961), work which conferred prestige to the director and focus on exhibiting
temporality and memorialism
| Identifer | oai:union.ndltd.org:IBICT/oai:leto:handle/4523 |
| Date | 07 June 2013 |
| Creators | Fonseca, Guilherme Castro |
| Contributors | Ferreira, Jerusa Pires |
| Publisher | Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em Comunicação e Semiótica, PUC-SP, BR, Comunicação |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Format | application/pdf |
| Source | reponame:Biblioteca Digital de Teses e Dissertações da PUC_SP, instname:Pontifícia Universidade Católica de São Paulo, instacron:PUC_SP |
| Rights | info:eu-repo/semantics/openAccess |
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