A influência do cinema norte-americano no cinema brasileiro através da jornada do herói
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2017
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O presente trabalho vem a estudar a Jornada do Herói no cinema e como ela
representa uma cultura de massa, através de uma análise comparativa entre os filmes Jaws
(1975), de Steven Spielberg, e Central do Brasil (1998), de Walter Salles, de modo a
encontrar os elementos que formam um herói ou Monomito no cinema de massa no Brasil e
nos EUA.
Os filmes do Gênero Drama\Aventura são escolhidos como exemplos de histórias
que foram apresentadas para um grande número de espectadores, são colocados como
exemplos de cinema de massa por sua grande difusão em salas para o grande público.
Sendo assim, temos uma amostra estratificada para análise, baseada em um subgrupo já
existente: filmes que foram vistos por multidões. O objeto de pesquisa é o herói ou heroína.
Através da comparação entre os personagens e suas jornadas nos filmes
analisados, foi possível encontrar padrões entre os mundos dos heróis. A estrutura da
comparação entre as jornadas é feita através das fases da Jornada do herói mítico descrito
por Joseph Campbell, em O Herói das Mil Faces (CAMPBELL, 1949, p. 30), e Christian
Vogler, em A Jornada do Escritor (VOGLER, 1989, p. 34). A comparação feita entre os dois
filmes ressalta as intercessões e padrões que unem as histórias e heróis; elementos em
comum são colocados de forma a mostrar como a estrutura dos filmes analisados reflete a
influência do cinema americano para as massas no cinema brasileiro. São encontrados e
demonstrados os elementos que morfologicamente unem os filmes através das fases da
Jornada do Herói e das características dos heróis analisados.
A comparação entre os heróis é feita não só através de sua jornada, mas através
de um mapa de personagens proposto por Laurie Hutzler (2006) e, sendo assim, foi possível
identificarmos e compararmos as principais características, medos, desejos, sacrifícios,
elementos que levam perigo ao herói: como são seus mundos, o que procuram, famílias etc.
São destacados elementos que unem os heróis do filme americano e do brasileiro,
demonstrando, assim, uma característica de cultura de massa, de inconsciente coletivo.
Além da análise comparativa dos heróis e de suas jornadas, é feita uma
demonstração morfológica e arquetípica das funções do herói e da forma como suas
atitudes moldam a história. A jornada do herói, seus arquétipos e a cultura de massa são
colocados como parte do inconsciente coletivo, que produz fenômenos em comum, na forma
como as histórias são construídas para o cinema e apresentadas para as grandes
multidões.
Algumas referências a outras histórias também foram encontradas: Mickey (1928),
Pinocchio (1940), contos de fadas também são elementos presentes que unem as histórias
e são relatados. A morfologia de nossos filmes analisados é demonstrada com arquétipos
comuns entre as histórias e de como os heróis se comportam. Uma fórmula para cada filme é montada, simbolizando uma morfologia, seguindo as funções descritas por Vladimir Propp,
em seu livro a Morfologia do Conto Maravilhoso (PROPP, 2001 23)
Com a análise paralela entre a jornada e o herói, podemos demonstrar como a
cultura de massa no cinema produz efeitos de similaridade entre as histórias. Essas
intercessões que unem as histórias são apresentadas de forma mítica, arquetípica e
estruturada num Plot tradicional de cinema em 3 atos.
O trabalho seguinte demonstra como os núcleos familiares, representações
patriarcais, matriarcais e de um discurso com uma história que pode ser aceita pelas
multidões, onde as pessoas se espelham e se reconhecem, são alguns pontos em comum
entre as histórias que veem sendo contadas no cinema americano para massas, e agora é
demonstrado no cinema brasileiro pós década de 90.
The present work comes to study the Hero's Journey in the cinema and how it represents a mass culture, through a comparative analysis between the films Jaws (1975), of Steven Spielberg, and Central of Brazil (1998), of Walter Salles, In order to find the elements that form a hero or Monomito in the mass cinema in Brazil and the USA. The films of the Drama / Adventure genre are chosen as examples of stories that have been presented to a large number of viewers, are presented as examples of mass cinema for its great diffusion in rooms for the general public. Thus, we have a stratified sample for analysis, based on an existing subgroup: films that were seen by crowds. The research object is the hero or heroine. Through the comparison between the characters and their journeys in the films analyzed, it was possible to find patterns between the worlds of the heroes. The structure of the comparison between the journeys is made through the phases of the journey of the mythical hero described by Joseph Campbell in The Hero of the Thousand Faces (Campbell, 1949, 30), and Christian Vogler in The Journey of the Writer (Vogler, 1989, p34). The comparison made between the two films underscores the intercessions and patterns that unite stories and heroes; elements in common are put in a way to show how the structure of the films analyzed reflect the influence of american cinema for the masses in brazilian cinema. The elements that morphologically unite the films through the phases of Hero's Journey and the characteristics of the heroes analyzed are found and demonstrated. The comparison between the heroes is made not only through their journey, but through a character map proposed by Laurie Hutzler (2006) and, thus, it was possible to identify and compare the main characteristics, fears, desires, sacrifices, elements that They put danger to the hero: what their worlds are like, what they are looking for, families, etc. Elements that unite the heroes of the american and Brazilian films are highlighted, thus demonstrating a characteristic of mass culture, a collective unconscious. In addition to the comparative analysis of the heroes and their journeys, a morphological and archetypal demonstration of the hero's functions and the way his attitudes shape history is made. The hero's journey, his archetypes, and mass culture are placed as part of the collective unconscious, which produces phenomena in common, in the way the stories are made for the movies and presented to large crowds. Some references to other stories have also been found: Mickey (1928), Pinocchio (1940), fairy tales are also present elements that unite the stories and are reported. The morphology of our films analyzed is demonstrated by common archetypes between the stories and how heroes behave. A formula for each film is assembled, symbolizing a morphology, following the functions described by Vladimir Propp in his book The Morphology of the Wonderful Tale (PROPP, 2001 23) With the parallel analysis between the journey and the hero, we can demonstrate how mass culture in cinema produces similarity effects between stories. These intercessions that unite the stories are presented in a mythical, archetypal and structured way in a traditional 3-Act movie Plot. The following work demonstrates how family nuclei, patriarchal, matriarchal representations, and a discourse with a story that can be accepted by the crowds, where people mirror and recognize each other, are some commonalities among the stories they see being told in the movies american for masses, and is now shown in Brazilian cinema after the 90s.
The present work comes to study the Hero's Journey in the cinema and how it represents a mass culture, through a comparative analysis between the films Jaws (1975), of Steven Spielberg, and Central of Brazil (1998), of Walter Salles, In order to find the elements that form a hero or Monomito in the mass cinema in Brazil and the USA. The films of the Drama / Adventure genre are chosen as examples of stories that have been presented to a large number of viewers, are presented as examples of mass cinema for its great diffusion in rooms for the general public. Thus, we have a stratified sample for analysis, based on an existing subgroup: films that were seen by crowds. The research object is the hero or heroine. Through the comparison between the characters and their journeys in the films analyzed, it was possible to find patterns between the worlds of the heroes. The structure of the comparison between the journeys is made through the phases of the journey of the mythical hero described by Joseph Campbell in The Hero of the Thousand Faces (Campbell, 1949, 30), and Christian Vogler in The Journey of the Writer (Vogler, 1989, p34). The comparison made between the two films underscores the intercessions and patterns that unite stories and heroes; elements in common are put in a way to show how the structure of the films analyzed reflect the influence of american cinema for the masses in brazilian cinema. The elements that morphologically unite the films through the phases of Hero's Journey and the characteristics of the heroes analyzed are found and demonstrated. The comparison between the heroes is made not only through their journey, but through a character map proposed by Laurie Hutzler (2006) and, thus, it was possible to identify and compare the main characteristics, fears, desires, sacrifices, elements that They put danger to the hero: what their worlds are like, what they are looking for, families, etc. Elements that unite the heroes of the american and Brazilian films are highlighted, thus demonstrating a characteristic of mass culture, a collective unconscious. In addition to the comparative analysis of the heroes and their journeys, a morphological and archetypal demonstration of the hero's functions and the way his attitudes shape history is made. The hero's journey, his archetypes, and mass culture are placed as part of the collective unconscious, which produces phenomena in common, in the way the stories are made for the movies and presented to large crowds. Some references to other stories have also been found: Mickey (1928), Pinocchio (1940), fairy tales are also present elements that unite the stories and are reported. The morphology of our films analyzed is demonstrated by common archetypes between the stories and how heroes behave. A formula for each film is assembled, symbolizing a morphology, following the functions described by Vladimir Propp in his book The Morphology of the Wonderful Tale (PROPP, 2001 23) With the parallel analysis between the journey and the hero, we can demonstrate how mass culture in cinema produces similarity effects between stories. These intercessions that unite the stories are presented in a mythical, archetypal and structured way in a traditional 3-Act movie Plot. The following work demonstrates how family nuclei, patriarchal, matriarchal representations, and a discourse with a story that can be accepted by the crowds, where people mirror and recognize each other, are some commonalities among the stories they see being told in the movies american for masses, and is now shown in Brazilian cinema after the 90s.
Descrição
Orientação: Paulo Renato da Silva Gil Viveiros ; Gonçalo Galvão Teles
Palavras-chave
MESTRADO EM ESTUDOS CINEMATOGRÁFICOS, CINEMA, CINEMA NORTE-AMERICANO, CINEMA BRASILEIRO, AUDIOVISUAL, AUDIOVISUAL, CINEMA, NORTH AMERICAN CINEMA, BRAZILIAN CINEMA