Cinema e objetos
Miniatura indisponível
Data
2020
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Resumo
Este trabalho investiga a importância outorgada aos objetos no cinema. A sua metodologia empírica envolveu a realização de três filmes durante o período da investigação, a saber, Objetos entre Nós (2018), Casa Encantada (2018) e Sacavém (2019), os dois primeiros estreados nos festivais DocLisboa 2018 e, o último, no Indie Lisboa 2019. Os três filmes constituem a trave mestra da investigação, na medida em que é a partir deles que se procura testar a hipótese segundo a qual os objetos longe de desempenharem um papel meramente ornamental num filme — embora muitas vezes tenham essa função — surgem como elementos verdadeiramente decisivos na sua construção. A sua aparentemente materialidade, rigidez, inexpressividade, funcionalidade, características lhes são habitualmente atribuídas, podiam dar lugar — organizados de outras formas, construindo outras relações, dispostos de maneiras diferentes — a histórias complexas, profundas e a experiências estéticas audazes. Esta era a hipótese que queríamos testar nos três filmes que realizámos, nos quais os objetos surgem estruturados, em cada um deles, de maneira totalmente diferente. Desse trabalho empírico também faz parte a análise a quatro filmes The Clock (2010), de Christian Maclay, The Rope de Alfred Hitchcock (1948), The Human Voice de Jean Cocteau (1930) e Ladri di Biciclette de Vittorio de Sica (1948), que constituem, a nosso ver, exemplos paradigmáticos da relevância que os objetos podem adquirir nos filmes.
Tanto o tema como a hipótese inscreviam-se num quadro mais geral: o tema da relação dos objetos com o humano e a hipótese, que o pensamento contemporâneo se tem forçado por mostrar, segundo a qual, os objetos são, nessa relação, sujeitos ativos na construção do homem e do mundo e que o seu valor depende do tipo de ligações criadas na estrutura onde estão inseridos. Haveria então que discutir esse aspeto. Daí que a parte literária da tese se inicie por propor a análise teórica dessa relação que se debruça sobre quatro momentos históricos: a Antiguidade e a Idade Média, a Modernidade e a contemporaneidade, examinando com maior detalhe este último momento.
This work investigates the importance given to objects in the cinema. Its empirical methodology involved the making of three films during the research period, namely, Objects between us (2018), Enchanted House (2018) and Sacavém (2019), the first two premieres at the festivals. DocLisboa 2018 and, lastly, Indie Lisboa 2019. The three films are the main focus of the investigation, as it is from them that we try to test the hypothesis that objects far from playing a merely ornamental role in a film - although they often have this function - they emerge as truly decisive elements in their construction. Their seemingly materiality, rigidity, inexpressiveness, functionality, characteristics, as they are usually attributed to them, could give way - organized in other ways, building other relations, arranged in different ways - to complex, profound stories and bold aesthetic experiences. This was the hypothesis we wanted to test in the three films we made, in which objects appear structured in each of them in a totally different way. This empirical work also includes the analysis of four films Christian Maclay's The Clock (2010), Alfred Hitchcock's The Rope (1948), Jean Cocteau's The Human Voice (1930) and Ladri di Bicyclette de Vittorio de Sica (1948), which constitute, in our view, paradigmatic examples of the relevance that objects can acquire in films. Both the theme and the hypothesis were part of a more general picture: the theme of the relation of objects with the human and the hypothesis, which contemporary thought has been forced to show, according to which, in this relation, objects are active subjects. In the construction of man and the world and that their value depends on the type of connections created in the structure in which they are inserted. This should then be discussed. Hence the literary part of the thesis begins de proposing the theoretical analysis of this relationship that focuses on four historical moments: Antiquity and the Middle Ages, Modernity and contemporaneity, examining in greater detail this last moment.
This work investigates the importance given to objects in the cinema. Its empirical methodology involved the making of three films during the research period, namely, Objects between us (2018), Enchanted House (2018) and Sacavém (2019), the first two premieres at the festivals. DocLisboa 2018 and, lastly, Indie Lisboa 2019. The three films are the main focus of the investigation, as it is from them that we try to test the hypothesis that objects far from playing a merely ornamental role in a film - although they often have this function - they emerge as truly decisive elements in their construction. Their seemingly materiality, rigidity, inexpressiveness, functionality, characteristics, as they are usually attributed to them, could give way - organized in other ways, building other relations, arranged in different ways - to complex, profound stories and bold aesthetic experiences. This was the hypothesis we wanted to test in the three films we made, in which objects appear structured in each of them in a totally different way. This empirical work also includes the analysis of four films Christian Maclay's The Clock (2010), Alfred Hitchcock's The Rope (1948), Jean Cocteau's The Human Voice (1930) and Ladri di Bicyclette de Vittorio de Sica (1948), which constitute, in our view, paradigmatic examples of the relevance that objects can acquire in films. Both the theme and the hypothesis were part of a more general picture: the theme of the relation of objects with the human and the hypothesis, which contemporary thought has been forced to show, according to which, in this relation, objects are active subjects. In the construction of man and the world and that their value depends on the type of connections created in the structure in which they are inserted. This should then be discussed. Hence the literary part of the thesis begins de proposing the theoretical analysis of this relationship that focuses on four historical moments: Antiquity and the Middle Ages, Modernity and contemporaneity, examining in greater detail this last moment.
Descrição
Orientação: José A. Bragança de Miranda
Palavras-chave
DOUTORAMENTO EM CIÊNCIAS DA COMUNICAÇÃO, COMUNICAÇÃO, CINEMA, LINGUAGEM CINEMATOGRÁFICA, PERCEÇÃO, IMAGINAÇÃO, COMMUNICATION, FILM LANGUAGE, PERCEPTION, IMAGINATION, CINEMA