Dos processos criativos as influências das artes plásticas no cinema
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2022
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Este trabalho investiga as influências da pintura no cinema. Para isso, durante o processo de ela boração desse trabalho até o seu final, incluindo a curta metragem documentário que abrange esse
projeto, propusemos repensar a relação entre o cinema e a pintura, ressaltando o meio cinemato gráfico como acrescentador e transformador dessa outra arte. É essa idéia que tentaremos resgatar
nesse trabalho, buscando uma reflexão que propõem por meio do cinema e de seu poder estético,
oferecer uma visão do artista e do tempo pictórico. A sua metodologia empírica envolveu a reali zação de uma curta-metragem documental durante o período da investigação, intitulado: Merege
(2021). Essa obra também serve como uma espécie de conclusão prática, uma ação com efeito
concreto ou, poderíamos dizer: um produto das discussões que nos propusemos a fazer aqui. A
curta-metragem também representa uma parte relevante dessa investigação, na medida em que é
através dela que se coloca em prática as hipóteses que veremos a seguir e segundo a qual o cine ma desempenha um papel transformador na obra pictórica. Também buscamos nesse estudo, atra vés de um trabalho empírico, contribuir através da análise de dois filmes: O Sol do Marmeleiro
(1992), de Víctor Erice e O mistério de Picasso de Henri-Georges Clouzot (1956), que constitu em, a nosso ver, exemplos significativos da relevância que a pintura pode adquirir nos filmes.
Pois ambos apresentam de uma forma concreta o que acontece quando essas duas artes se tocam.
Justamente porquê essa capacidade cinematográfica é potencializada a favor da criação de um
novo ser estético, de uma obra que revela essa ligação íntima entre o tempo pictórico e o espaço
cinematográfico. A partir dessa ligação entre esses dois estudos, a dissertação e a curta, avança remos para a intenção de pensar a representação da pintura no cinema. Por propormos discutir
essa relação estética entre o cinema e a pintura, teríamos então que partir desse aspeto. Daí então,
o porquê da parte literária dessa tese se iniciar por uma discussão sobre o cinema como forma de
arte.
This work investigates the influences of painting on cinema. For this, during the construction process of this work until its end, including the short documentary film that covers this project, we proposed to rethink the relation between cinema and painting, highlighting the cinemato graphic medium as an adder of this other art. It is this idea that we try to help in this work, see king a reflection that proposes through cinema and its aesthetic power, to offer a vision of the ar tist and pictorial time. Its empirical documentary methodology during an investigation, entitled: Merege (2021). This work also serves to concrete action of practical conclusion, an action with effect or that says: a product of the practices we proposed here. The short film also represents a part of this investigation, insofar as it is through which the hypothesis that shows a sequence and according to a relevant cinema for a transforming role in the pictorial work is put into practice. We are also in this study, through an empirical work, to contribute through the analysis of two films: Dream of Light (1992), Víctor Erice and The Mystery of Picasso by Henri-Georges Clou zot (1956), which seeks, in our view, to examples of films from which painting can acquire us. For both present in a concrete way what happens when these two arts touch each other. Precisely because this cinematographic capacity is leveraged in favor of the creation of a new aesthetic being, of a work that reveals this intimate connection between pictorial time and cinematographic space. From this connection between these, a dissertation and a short, we will study for the inten tion of a representation of painting in cinema. To put this then aesthetic relationship between cinema and painting, we would have to start from that aspect. Hence, why the literary part of this thesis starts with a discussion about cinema as an art form.
This work investigates the influences of painting on cinema. For this, during the construction process of this work until its end, including the short documentary film that covers this project, we proposed to rethink the relation between cinema and painting, highlighting the cinemato graphic medium as an adder of this other art. It is this idea that we try to help in this work, see king a reflection that proposes through cinema and its aesthetic power, to offer a vision of the ar tist and pictorial time. Its empirical documentary methodology during an investigation, entitled: Merege (2021). This work also serves to concrete action of practical conclusion, an action with effect or that says: a product of the practices we proposed here. The short film also represents a part of this investigation, insofar as it is through which the hypothesis that shows a sequence and according to a relevant cinema for a transforming role in the pictorial work is put into practice. We are also in this study, through an empirical work, to contribute through the analysis of two films: Dream of Light (1992), Víctor Erice and The Mystery of Picasso by Henri-Georges Clou zot (1956), which seeks, in our view, to examples of films from which painting can acquire us. For both present in a concrete way what happens when these two arts touch each other. Precisely because this cinematographic capacity is leveraged in favor of the creation of a new aesthetic being, of a work that reveals this intimate connection between pictorial time and cinematographic space. From this connection between these, a dissertation and a short, we will study for the inten tion of a representation of painting in cinema. To put this then aesthetic relationship between cinema and painting, we would have to start from that aspect. Hence, why the literary part of this thesis starts with a discussion about cinema as an art form.
Descrição
Orientação: José A. Bragança de Miranda
Palavras-chave
MESTRADO EM ESTUDOS CINEMATOGRÁFICOS, CINEMA, FOTOGRAFIA, ARTE, ARTES PLÁSTICAS, ESTÉTICA, PHOTOGRAPHY, ART, PLASTIC ARTS