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Authors
Abstract(s)
Nesta dissertação estabelecem-se relações entre o Cinema e a Geografia, tendo como fio
condutor a paisagem. Considerando que este conceito pressupõe uma contemplação do
espaço (fílmico e geográfico), este estudo tem como objetivo compreender de que formas a
duração dos planos e a direção de fotografia influenciam na representação da paisagem
cinemática em obras representativas do Slow Cinema, realizadas em Portugal e no Brasil
entre 2011 e 2018. Para isso, propõe-se classificar, interpretar e analisar os ícones presentes
na paisagem a partir de uma metodologia multidisciplinar, criativa e inovadora,
contribuindo para discussões sobre o Cinema Contemporâneo e a Geografia Cultural.
Oferece-se uma breve contextualização sobre o cinema contemporâneo português e
brasileiro, assim como uma conceituação e explicação sobre a evolução do Slow Cinema,
movimento artístico contemporâneo que tem na lentidão sua característica predominante.
Para isso, propõe-se realizar um estado da arte sobre o assunto, apontando os aspectos
estilísticos que agrupam as obras fílmicas representativas desta tendência. Com base nesta
ideia, expõe-se ainda os principais realizadores contemporâneos que utilizam a lentidão
como forma de apreciação, delimitando como estudo de caso os filmes Sudoeste (Eduardo
Nunes, 2011) e Drvo: A Árvore (André Gil Mata, 2018). Abordam-se ainda as categorias de
análise espacial do ponto de vista científico e artístico, revisando os conceitos de espaço,
território, lugar e principalmente a paisagem, ampliando o discurso contemporâneo e
transdisciplinar que norteia esta pesquisa. Percorre-se a evolução da paisagem enquanto
ideia e conceito, evidenciando sua importância para diversos domínios científicos,
notadamente a Geografia Cultural, a Filosofia da Paisagem e os Estudos Fílmicos. Propõe-se,
então, a aplicação da metodologia de classificação da linguagem cinematográfica a partir da
duração dos planos e da direção de fotografia, seguida de profunda análise fílmica.
Classifica-se, analisa-se e interpreta-se então a paisagem a partir de sua iconografia, para a
discussão dos resultados a partir de uma perspectiva comparada e transdisciplinar.
The present dissertation aims to explore potential relations between Cinema and Geography, based on the landscape as a common element. Considering that the landscape as a concept implies a contemplation of the space (filmic and geographic), this study attempts to understand how the shot length and the direction of photography influence the cinematic landscape's representation in Slow Cinema performed in Portugal and Brazil films between 2011 and 2018. It is necessary to classify, interpret and analyze the icons depicted in the landscape through a multidisciplinary and innovative methodology, contributing to discussions on Contemporary Cinema and Cultural Geography. A brief contextualization about the Portuguese and Brazilian contemporary cinema will be offered, as well as an explanation about the evolution of Slow Cinema, a contemporary vanguard movement that finds in slowness its predominant characteristic. For such, the study provides a collection of scientific publications that debate the subject, to illustrate the aspects in which slow films are built. Based on this, artists and filmmakers that use the slowness as a matter of appreciation will be introduced, especially the selected films chosen as a case study: Sudoeste (Eduardo Nunes, 2011) and Drvo: A Árvore (André Gil Mata, 2018). Furthermore, spatial analysis categories will be reviewed through scientific and artistic perspectives, examining the concepts of space, territory, place and especially the landscape, expanding the multidisciplinary approach of this study. The term landscape will be inspected as an idea and as a concept, considering its relevance to different scientific domains such as Cultural Geography, Philosophy of Landscape and Film Studies. The methodology of film language classification will be used in order to provide a profound filmic analysis, considering the shot length and the direction of photography. The landscape will be interpreted and classified concerning its iconography. Thereby, the results will provide a relevant debate through a transdisciplinary and comparative approach.
The present dissertation aims to explore potential relations between Cinema and Geography, based on the landscape as a common element. Considering that the landscape as a concept implies a contemplation of the space (filmic and geographic), this study attempts to understand how the shot length and the direction of photography influence the cinematic landscape's representation in Slow Cinema performed in Portugal and Brazil films between 2011 and 2018. It is necessary to classify, interpret and analyze the icons depicted in the landscape through a multidisciplinary and innovative methodology, contributing to discussions on Contemporary Cinema and Cultural Geography. A brief contextualization about the Portuguese and Brazilian contemporary cinema will be offered, as well as an explanation about the evolution of Slow Cinema, a contemporary vanguard movement that finds in slowness its predominant characteristic. For such, the study provides a collection of scientific publications that debate the subject, to illustrate the aspects in which slow films are built. Based on this, artists and filmmakers that use the slowness as a matter of appreciation will be introduced, especially the selected films chosen as a case study: Sudoeste (Eduardo Nunes, 2011) and Drvo: A Árvore (André Gil Mata, 2018). Furthermore, spatial analysis categories will be reviewed through scientific and artistic perspectives, examining the concepts of space, territory, place and especially the landscape, expanding the multidisciplinary approach of this study. The term landscape will be inspected as an idea and as a concept, considering its relevance to different scientific domains such as Cultural Geography, Philosophy of Landscape and Film Studies. The methodology of film language classification will be used in order to provide a profound filmic analysis, considering the shot length and the direction of photography. The landscape will be interpreted and classified concerning its iconography. Thereby, the results will provide a relevant debate through a transdisciplinary and comparative approach.
Description
Keywords
Cinema Contemporâneo Cinema e Paisagem Geografia Cultural Slow Cinema