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O presente relatório descreve o processo criativo do filme Prédios/Montes, desde a ideia
inicial à montagem final.
Numa primeira parte, dou especial atenção à ideia e ao contexto em que esta nasceu ou,
melhor, desvendo a necessidade de onde esta surgiu. Seguidamente, exploro o trabalho
de retratista que adotei, transformando o filme num possível autorretrato, desse modo
expondo alguns conceitos da História da Arte, em particular da história do autorretrato,
bem como a da conceção de um retrato, partindo dos ensinamentos de Francisco de
Holanda. Estabelecida a relação entre a ideia, o autor e a sua subsequente
autorrepresentação, questiono-me em seguida acerca da relação entre autor e espectador
e, partindo das respostas encontradas, reflito sobre o meu papel enquanto realizador.
Para tal, convoco abordagens várias, de Roland Barthes, Jacques Rancière e Judith
Mayne a, frequentemente, Andrei Tarkovsky. Por fim, relato o processo de criação e
produção do filme de forma descritiva e crítica, do guião à obra final, passando pelas
rodagens, a montagem e a pós-produção.
This report describes the creative process of the film Prédios/Montes, from the initial idea to the final cut. In the first part, I pay special attention to the idea and the context in which it was born, unraveling where it came from. Then, I explore my own self as a portraitist, transforming the film into a possible self-portrait. In doing so, I expose some concepts of Art History, in particular the history of self-portraiture, as well as the conception of a portrait exploring the teachings of Francisco de Holanda. After establishing the relationship between the idea, the author, and his subsequent self-representation, I theorize about the relationship between author and spectator. Based on the answers found, I reflect on my role as a director. To this end, I call on several approaches, from Roland Barthes, Jacques Rancière and Judith Mayne, to Andrei Tarkovsky. Finally, I describe the process of creating and producing the film in a descriptive and critical way, from the script to the final work, including shooting, editing and post-production.
This report describes the creative process of the film Prédios/Montes, from the initial idea to the final cut. In the first part, I pay special attention to the idea and the context in which it was born, unraveling where it came from. Then, I explore my own self as a portraitist, transforming the film into a possible self-portrait. In doing so, I expose some concepts of Art History, in particular the history of self-portraiture, as well as the conception of a portrait exploring the teachings of Francisco de Holanda. After establishing the relationship between the idea, the author, and his subsequent self-representation, I theorize about the relationship between author and spectator. Based on the answers found, I reflect on my role as a director. To this end, I call on several approaches, from Roland Barthes, Jacques Rancière and Judith Mayne, to Andrei Tarkovsky. Finally, I describe the process of creating and producing the film in a descriptive and critical way, from the script to the final work, including shooting, editing and post-production.
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Autor Autorretrato Cinema Espectador