A carregar...
Publicação
Limitações tecnológicas na evolução do cinema: obstáculo ou objeto artístico?
Autores
Orientador(es)
Resumo(s)
Este trabalho parte do pressuposto de que as limitações tecnológicas, ao longo da história do cinema, não constituíram apenas obstáculos a ultrapassar, mas dispositivos narrativos ativos que contribuíram para a definição de novas formas de comunicação cinematográfica. A investigação procura responder à seguinte questão: De que forma as limitações tecnológicas funcionaram como dispositivos narrativos ativos em Touch of Evil (1958), Blade Runner (1982) e Inception (2010), e de que modo essa relação entre constrangimento técnico e escolha criativa transformou as convenções de comunicação cinematográfica? Para responder a esta questão, o trabalho mobiliza um quadro teórico fundamentado em três autores centrais aos estudos cinematográficos, André Bazin e a sua teoria do realismo, da profundidade de campo e da ambiguidade da imagem, David Bordwell e a sua sistematização da mise-en-scène, da cinematografia e do estilo como dispositivo narrativo, e Walter Murch e as suas reflexões sobre a descontinuidade, a montagem e o design sonoro. Após uma revisão crítica da literatura existente sobre tecnologia e narrativa cinematográfica, é definida uma metodologia de análise fílmica comparativa e diacrónica. Esta metodologia é aplicada a três obras situadas em momentos tecnologicamente distintos da história do cinema, partindo, em cada caso, de uma sequência singular particularmente representativa, e estendendo posteriormente a análise ao filme na sua totalidade, de modo a verificar se os princípios identificados na cena escolhida constituem ocorrências isoladas ou se, pelo contrário, estruturam de forma sistemática a obra no seu conjunto. Conclui-se que a relação entre tecnologia e narrativa no cinema não constitui uma evolução linear e determinista, mas um espaço de decisão criativa que os realizadores mais significativos da história do cinema souberam ocupar e transformar em linguagem.
This dissertation departs from the premise that, throughout the history of cinema, technological limitations did not function merely as obstacles to overcome, but as active narrative devices that contributed to defining new forms of cinematic communication. The investigation seeks to answer the following question: In what ways did technological limitations function as active narrative devices in Touch of Evil (1958), Blade Runner (1982), and Inception (2010), and how did this relationship between technical constraint and creative choice transform the conventions of cinematic communication? To address this question, the dissertation draws on a theoretical framework grounded in three authors central to film studies, André Bazin and his theory of realism, depth of field, and image ambiguity, David Bordwell and his systematization of mise-en-scène, cinematography, and style as an active narrative device, and Walter Murch and his reflections on discontinuity, editing, and sound design. Following a critical review of the existing literature on technology and cinematic narrative, a comparative and diachronic film analysis methodology is defined. This methodology is applied to three works situated at technologically distinct moments in the history of cinema, beginning, in each case, with a single, particularly representative sequence, and subsequently extending the analysis to the film as a whole, in order to verify whether the principles identified in the chosen scene constitute isolated occurrences or, conversely, systematically structure the entire work. It is concluded that the relationship between technology and narrative in cinema is not a linear or deterministic evolution, but a space of creative decision-making that the most significant filmmakers in cinema history have known how to occupy and transform into language.
This dissertation departs from the premise that, throughout the history of cinema, technological limitations did not function merely as obstacles to overcome, but as active narrative devices that contributed to defining new forms of cinematic communication. The investigation seeks to answer the following question: In what ways did technological limitations function as active narrative devices in Touch of Evil (1958), Blade Runner (1982), and Inception (2010), and how did this relationship between technical constraint and creative choice transform the conventions of cinematic communication? To address this question, the dissertation draws on a theoretical framework grounded in three authors central to film studies, André Bazin and his theory of realism, depth of field, and image ambiguity, David Bordwell and his systematization of mise-en-scène, cinematography, and style as an active narrative device, and Walter Murch and his reflections on discontinuity, editing, and sound design. Following a critical review of the existing literature on technology and cinematic narrative, a comparative and diachronic film analysis methodology is defined. This methodology is applied to three works situated at technologically distinct moments in the history of cinema, beginning, in each case, with a single, particularly representative sequence, and subsequently extending the analysis to the film as a whole, in order to verify whether the principles identified in the chosen scene constitute isolated occurrences or, conversely, systematically structure the entire work. It is concluded that the relationship between technology and narrative in cinema is not a linear or deterministic evolution, but a space of creative decision-making that the most significant filmmakers in cinema history have known how to occupy and transform into language.
Descrição
Projeto de Graduação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Licenciado em Ciências da Comunicação.
Palavras-chave
Cinema Limitação tecnológica Narrativa cinematográfica Profundidade de campo Efeitos práticos Linguagem cinematográfica Technological limitation Cinematic narrative Depth of field Practical effects Film language