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Abstract(s)
A narrativa de um filme não se processa do mesmo modo como acontece numa obra literária, na medida em que os meios utilizados pelos respetivos autores para a transmissão da sua mensagem são, pela sua natureza, diferentes. Enquanto o escritor literário conta apenas com as palavras escritas para narrar uma história — salvaguarda-se eventualmente a ilustração por alguns desenhos/fotografias —, o cineasta socorre-se de outros meios tais como o som, a imagem, os jogos de luz/sombra ou até a posição e os movimentos de câmara para elaborar o seu discurso e realizar a sua obra.
Portanto, a primeira questão que se coloca ao encetarmos a nossa dissertação é a seguinte: quais os recursos cinematográficos privilegiados por Manoel de Oliveira na construção da narrativa do filme em análise? Assim, importa identificar e explicitar um particular conceito de fazer cinema, que demarcou Oliveira dos demais cineastas portugueses e até mundiais.
Um outro quesito importante prende-se com a forma como classificamos O Dia do Desespero e justificamos essa tipificação. O que é o filme? Uma ficção, um documentário, uma docuficção? As leituras e releituras que fizemos conduziram-nos a uma proposta de classificação diferente da do realizador.
Contudo, num aspeto deveremos estar todos de acordo quando afirmamos que se trata de um filme contemplativo que induz o espetador à reflexão e à introspeção, não se enquadrando, de forma alguma, no género de cinema comercial que é realizado apenas para diversão dos espetadores. Assim, a delimitação do espaço da casa de São Miguel de Seide — que funciona como cenário principal — e a identificação dos objetos nela contidos, que serviram os propósitos do cineasta no sentido de nos desvendarem o lado mais intimista do escritor, ou seja, a face oculta que muitos de nós não conhecíamos, será pois outro dos nossos objetivos. Cientes de que os objetos também falam, bastando para isso, escutá-los, olhá-los com especial atenção e ver o que nos podem contar acerca da personalidade e dos últimos dias de vida do seu proprietário, embarcaremos numa viagem analítica que nos conduzirá ao passado e ao misterioso universo camiliano. As personagens intervenientes e não intervenientes na ação do filme e que representam todos aqueles que, para o bem ou para o mal, fizeram parte da vida de Camilo Castelo Branco, bem como as transposições da literatura para o filme em causa constituem, de igual modo, objetos do nosso estudo.
The narrative of a film does not proceed in the same way as it does in a literary work, insofar as the means used by the respective authors for the transmission of their message are, by their nature, different. While the literary writer relies solely on words written to tell a story - eventually saved by some drawings/photographs - the filmmaker relies on other means such as sound, image, light/shadow games or even the position and the camera movements to elaborate your speech and perform your work. Therefore, the first question that arises when we begin our dissertation is: what are the cinematographic resources privileged by Manoel de Oliveira in the construction of the narrative of the film under analysis? Thus, it is important to identify and make explicit a particular concept of making films, which demarcated Oliveira from other Portuguese and even world filmmakers. Another important issue concerns how we classify The Day of Despair and we justify this typification. What is the movie? Is it a fiction, a documentary, a docufiction? The readings and re-readings that we made led us to a proposal of classification different from the one of the directors. However, in one aspect we should all agree when we affirm that it is a contemplative film that induces the spectator to reflection and introspection, not fitting in any way in the kind of commercial cinema that is performed only for spectators’ enjoyment. Thus, the delimitation of the space of the house of São Miguel de Seide, which functions as the main setting, and the identification of the objects contained therein, served the purpose of the filmmaker in the sense of unveiling the more intimate side of the writer, hidden face that many of us did not know, will be another of our goals. Aware that objects also speak, just by listening to them, looking at them with special attention and seeing what they can tell us about the personality and the last days of their owner's life, we embark on an analytical journey that will lead us to the past and the mysterious camillian universe. The characters involved and not involved in the action of the film and who represent all those who, for good and for evil, were part of the life of Camilo Castelo Branco, as well as the transpositions from literature to the film in question constitute, likewise, objects of our study.
The narrative of a film does not proceed in the same way as it does in a literary work, insofar as the means used by the respective authors for the transmission of their message are, by their nature, different. While the literary writer relies solely on words written to tell a story - eventually saved by some drawings/photographs - the filmmaker relies on other means such as sound, image, light/shadow games or even the position and the camera movements to elaborate your speech and perform your work. Therefore, the first question that arises when we begin our dissertation is: what are the cinematographic resources privileged by Manoel de Oliveira in the construction of the narrative of the film under analysis? Thus, it is important to identify and make explicit a particular concept of making films, which demarcated Oliveira from other Portuguese and even world filmmakers. Another important issue concerns how we classify The Day of Despair and we justify this typification. What is the movie? Is it a fiction, a documentary, a docufiction? The readings and re-readings that we made led us to a proposal of classification different from the one of the directors. However, in one aspect we should all agree when we affirm that it is a contemplative film that induces the spectator to reflection and introspection, not fitting in any way in the kind of commercial cinema that is performed only for spectators’ enjoyment. Thus, the delimitation of the space of the house of São Miguel de Seide, which functions as the main setting, and the identification of the objects contained therein, served the purpose of the filmmaker in the sense of unveiling the more intimate side of the writer, hidden face that many of us did not know, will be another of our goals. Aware that objects also speak, just by listening to them, looking at them with special attention and seeing what they can tell us about the personality and the last days of their owner's life, we embark on an analytical journey that will lead us to the past and the mysterious camillian universe. The characters involved and not involved in the action of the film and who represent all those who, for good and for evil, were part of the life of Camilo Castelo Branco, as well as the transpositions from literature to the film in question constitute, likewise, objects of our study.
Description
Keywords
Camilo Castelo Branco Cinema Documentário Ficção Literatura Manoel de Oliveira O Dia do Desespero Romantismo