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Authors
Abstract(s)
Esta tese pretende analisar a representação da cidade no Novo Cinema português,
compreendendo a sua relevância dentro da inauguração de um cinema de arte moderno.
Para tal, na primeira parte, centramos a nossa atenção na revisão bibliográfica sobre quatro
grandes tópicos: a metodologia e o desenho de investigação; a cidade; a paisagem
cinematográfica; e o Novo Cinema português. No primeiro tópico, salientamos, sobretudo,
a nossa linha de pensamento em diálogo próximo com a grounded theory apresentada por
Kathy Charmaz, e com a compositional interpretation (the good eye) de Gillian Rose, pela
sua natureza de aprendizagem e flexibilidade, fundamentais para a construção do nosso
percurso de análise face à heterogeneidade estética do nosso corpus fílmico. Relativamente
à cidade, preocupamo-nos por compreender a amplitude deste conceito, sublinhando a
intrínseca relação entre a morfologia urbana e a realidade social. No terceiro tópico,
optamos por desenvolver a ideia de representação do conceito de paisagem, definindo uma
inovadora matriz de análise da cidade na paisagem cinematográfica. Dentro do último
tópico, procuramos uma aproximação do Novo Cinema português ao cinema de arte
moderno, tornando-se relevante o momento de rutura com o velho cinema enquanto
legitimação da individualidade artística de cada autor.
Na segunda parte, olhamos para o nosso corpus: onze longas-metragens do Novo Cinema
português, produzidas entre 1963 e 1974. Começamos por uma leitura narrativa de cada
filme, propondo de seguida uma detalhada e documentada análise, estruturada em cinco
grandes eixos (a tipologia, a morfologia, a presença, a função, a dimensão), a propósito da
presença da cidade na sua dupla definição (morfologia urbana e realidade social).
The aim of this thesis is to look into the representation of the city in the New Portuguese Cinema, elaborating on its relevance within the setting off of a modern art cinema. As such, the first part is focused on the bibliographical review of four broad subject matters: methodology and research conception; the city; cinematographic landscape; the New Portuguese Cinema. The first subject matter provides some insight about the thinking behind this thesis in close dialogue with Kathy Charmaz’s grounded theory, as well as Gillian Rose’s compositional interpretation (the good eye), due to their learning and flexibility nature, pivotal to the aesthetically heterogeneous film corpus of this study. It is the goal of the second subject matter to grasp the full extent of the city concept, underscoring the urban morphology and social reality entanglements. The third subject matter follows the idea of developing the cinema landscape representation concept, by defining a new city research framework within the film landscape. The last subject matter brings together the New Portuguese Cinema and modern art cinema, as the breach with the old cinema becomes apparent, thus empowering the artistic individuality of each author. The second part is devoted to the corpus scrutiny: eleven feature films of the New Portuguese Cinema, produced between 1963 and 1974 are studied. To begin with, there is a narrative reading of each film. Then, a detailed and documented analysis is made, structured in five main lines of thought (typology, morphology, presence, function, dimension), concerning the double definition of the city (urban morphology and social reality).
The aim of this thesis is to look into the representation of the city in the New Portuguese Cinema, elaborating on its relevance within the setting off of a modern art cinema. As such, the first part is focused on the bibliographical review of four broad subject matters: methodology and research conception; the city; cinematographic landscape; the New Portuguese Cinema. The first subject matter provides some insight about the thinking behind this thesis in close dialogue with Kathy Charmaz’s grounded theory, as well as Gillian Rose’s compositional interpretation (the good eye), due to their learning and flexibility nature, pivotal to the aesthetically heterogeneous film corpus of this study. It is the goal of the second subject matter to grasp the full extent of the city concept, underscoring the urban morphology and social reality entanglements. The third subject matter follows the idea of developing the cinema landscape representation concept, by defining a new city research framework within the film landscape. The last subject matter brings together the New Portuguese Cinema and modern art cinema, as the breach with the old cinema becomes apparent, thus empowering the artistic individuality of each author. The second part is devoted to the corpus scrutiny: eleven feature films of the New Portuguese Cinema, produced between 1963 and 1974 are studied. To begin with, there is a narrative reading of each film. Then, a detailed and documented analysis is made, structured in five main lines of thought (typology, morphology, presence, function, dimension), concerning the double definition of the city (urban morphology and social reality).
Description
Keywords
Novo Cinema português Cidade Paisagem Morfologia urbana Realidade social Análise fílmica