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Previous issue date: 2016-04-08 / Esta pesquisa reflete sobre o encontro de subjetividades em A pessoa ? para o que nasce
(2004), de Roberto Berliner, onde enxergamos o tempo como fator determinante para a
constru??o de v?nculos entre o diretor e as personagens centrais da obra. Esse longametragem
documental conta a hist?ria de Maria, Regina e Concei??o, tr?s senhoras
irm?s cegas que viveram maior parte da vida nas feiras de rua no Nordeste brasileiro,
cantando e tocando ganz? em troca de dinheiro. Durante o filme, vemos os quase sete
anos de contato e produ??o servirem como ferramenta para a constru??o da narrativa da
obra. Para entender a subjetividade das rela??es e o tempo partilhado, temos Bachelard
(1988), Serres (2001) e Sodr? (2006) como corpus te?rico principal, e para identificar a
influ?ncia desses encontros subjetivos no corte-final da obra, trazemos Todorov (1996)
e Baitello (1997), pois interpretamos a produ??o de imagens n?o-visuais, criadas ao
longo do filme, como reflexo da partilha do sens?vel (Ranci?re, 2009). Ao final da
pesquisa, percebemos uma influ?ncia direta entre os anos de intera??o e o conhecimento
m?tuo entre diretor e personagens, levando para a tela n?o apenas a hist?ria de vida
dessas irm?s, mas o pr?prio encontro de subjetividades que extrapolam as grava??es. / This work reflects on the encounter between subjectivities in Born to be blind (2004),
by Robert Berliner. There, we can see time as an important factor which establishes a
link between the director and the film characters. This documentary feature narrates the
life story of Maria, Regina and Concei??o, three blind sisters who make a living by
singing in Brazilian fairs. During the film, the almost seven years of production and
relations serve as a tool for the construction of the film narrative. In order to understand
the subjectivity of relations and the shared time, we bring up Bachelard (1988), Serres
(2001) and Sodr? (2006) as main theorists, and to identify how these encounters are
reflected in the final cut of the movie, we use Todorov (1996) and Baitello (1997), once
we read the production of non-visual images as a reflection of the distribution of the
sensible (Ranci?re, 2009). At the end of the research, we see a rather direct influence
between the shared years and the mutual understanding between director and characters,
which puts on screen not only the history of these women, but also the subjectivities
encounter itself.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufrn.br:123456789/21737 |
| Date | 08 April 2016 |
| Creators | Rocha, Helio Ronyvon Gomes |
| Contributors | 02482623863, Veloso, Maria do Socorro Furtado, 23755350220, Lira, Bertrand de Souza, 16066782487, Pavan, Maria Angela |
| Publisher | PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA M?DIA, UFRN, Brasil |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Source | reponame:Repositório Institucional da UFRN, instname:Universidade Federal do Rio Grande do Norte, instacron:UFRN |
| Rights | info:eu-repo/semantics/openAccess |
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