A geometria no quadro cinemático de Kurosawa : um estudo sobre forma e estilo
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2017
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Resumo
Partindo de uma premissa que considera a estética como um importante elemento narrativo do exercício cinematográfico, é possível destacar o cineasta Akira Kurosawa como um dos mais exímios realizadores a ativarem este traço estilístico em seu repertório
cinemático. Suas obras são notórias, seja pela exuberância de suas imagens, seja pela
capacidade de estímulos sensoriais exercidas no processo de recebimento do conteúdo
dramático por parte do expectador. Percebe-se, no entanto, certa particularidade metodo lógica na cinematografia de Kurosawa, uma tendência a arranjar os elementos no quadro
cinematográfico, de maneira que a disposição destes componentes remeta a construção
de formas geométricas primárias, tais como: triângulos, quadrados e círculos. Estas for mas podem funcionar como simbolismos visuais para determinada situação do enredo,
sugerindo o potencial narrativo deste aspecto fotográfico em seu cinema.
Posto isso, pretende-se com a dada dissertação, investigar a hipótese da incidência
de padrões geométricos presentes no processo de composição imagética dos filmes de
Akira Kurosawa, através do experimento de observação e contagem de frequência, inten tando-se compreender de que modo esta técnica é utilizada como ferramenta narrativa.
Starting from a premise that considers aesthetics as an important narrative ele ment from the cinematographic exercise, it is possible to highlight the filmmaker Akira Kurosawa as one of the most accomplished filmmakers to activate this stylistic trait in his cinematic set up, so ever, his works are notorious for the exuberance of his images and even more important, the stimuli sensorial capacity that its exert into the receipt process from the dramatic content by the spectator. However, is pretty clear to see a sort of par ticularity in Kurosawa´s cinematography, as a tendency for elements in the frame, so that the provision of these components can refer to the construction of primary geometric shapes, such as: triangles, squares and circles, which all they can work as a visual sym bolism for certain plot situations, suggesting the narrative potential from the photographic aspect. Therefore, as it has said, it is intended with this dissertation to investigate the hypothesis from the geometric incidence patterns, present into Akira Kurosawa´s process through the counting observation and frequency experiment, so trying to understand how this technique is used as a narrative tool.
Starting from a premise that considers aesthetics as an important narrative ele ment from the cinematographic exercise, it is possible to highlight the filmmaker Akira Kurosawa as one of the most accomplished filmmakers to activate this stylistic trait in his cinematic set up, so ever, his works are notorious for the exuberance of his images and even more important, the stimuli sensorial capacity that its exert into the receipt process from the dramatic content by the spectator. However, is pretty clear to see a sort of par ticularity in Kurosawa´s cinematography, as a tendency for elements in the frame, so that the provision of these components can refer to the construction of primary geometric shapes, such as: triangles, squares and circles, which all they can work as a visual sym bolism for certain plot situations, suggesting the narrative potential from the photographic aspect. Therefore, as it has said, it is intended with this dissertation to investigate the hypothesis from the geometric incidence patterns, present into Akira Kurosawa´s process through the counting observation and frequency experiment, so trying to understand how this technique is used as a narrative tool.
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Orientação: Paulo Viveiros
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MESTRADO EM ESTUDOS CINEMATOGRÁFICOS, AUDIOVISUAL, CINEMA, FOTOGRAFIA, CINEMATOGRAFIA, GEOMETRIA, AUDIOVISUAL, CINEMA, PHOTOGRAPHY, CINEMATOGRAPHY, GEOMETRY, KUROSAWA, AKIRA