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A paisagem nordestina no filme 'O Céu de Suely': uma análise de espacialidades no cinema contemporâneo

机译:电影《塞苏利城》中的东北风景:当代电影中的空间分析

摘要

The following research intends to propose an analysis of Northeastern landscape built in the movie “Suely in the Sky”, directed by Karin Ainouz in 2006. Considering that a landscape is built by the human eye directing of a certain spatial region and that that look organizes and selects subjective previews and the imaginary of each viewer, it was explored a landscape representation in the movie via a film analysis penned by Jacques Aumont (in 2004), expanded by a plethora of methodological lines which adds landscapes concepts linked to several fields of humanities such as Arts, Geography, History and Literature. Firstly, the construction of the northeastern landscape was examed in its correlation to other movies from Contemporary Cinema and previous periods of National Cinema. Secondly, different aspects of the referred movie were investigated, since it was chose as the research empirical object, such as its production, screenplay, crew, budget and locations; it was also examined how the director’s style originated from those spatialities, elaborating a research through his career and biography – that enabled a full understanding of his preliminary references. With this theoretical input, the movie’s specific analysis was driven by three selected themes: the sky, the sertão and the woman. These themes boosted the discussions about landscape, deepened by its symbolism and spatial markers, thus, examined its functions and peculiarities which are elaborated towards landscape in this piece of work. An analysis supported beyond mere spatial description, leading to strong evidence for the narrative’s appeal, communicating the character’s personal states or even functioning as an antagonist in certain moments. In “Suely in the Sky”, the landscape itself constitutes an example for the new tendencies of Northeastern Cinema, linked to its transformation, diversity e actualization characteristics that occurs in such spacialities, also enabling the embodiment of urban, global and transculturals elements to those spatial constructs.
机译:以下研究旨在提出对Karin Ainouz在2006年导演的电影“ Suely in the Sky”中构建的东北景观的分析。考虑到景观是由人眼在某个空间区域的引导下构建的,并且看起来并选择主观预览和每个观众的想象力,通过雅克·奥蒙特(Jacques Aumont)(2004年)撰写的电影分析,探索了电影中的景观表现形式,并通过过多的方法论线进行了扩展,从而增加了与人文学科领域相关联的景观概念例如艺术,地理,历史和文学。首先,研究了东北景观的构造与当代电影和以前国家电影的其他电影的相关性。其次,对所引用电影的不同方面进行了研究,因为它被选为研究经验对象,例如其制作,剧本,剧组,预算和位置。还检查了导演的风格是如何从这些空间中产生的,并通过他的职业生涯和传记进行了详尽的研究,从而使人们对他的初步参考资料有了充分的了解。有了这种理论上的投入,电影的具体分析就受到了三个选定主题的影响:天空,剧照和女人。这些主题推动了有关景观的讨论,并因其象征意义和空间标记而深化,从而考察了此作品中针对景观的功能和特殊性。一项分析不仅支持空间描述,还为叙事的吸引力提供了有力的证据,可以传达角色的个人状态,甚至可以在某些时候充当对手的角色。在《天空中的苏打》中,景观本身构成了东北电影院新趋势的一个例子,与东北电影院的转型,在这种空间中发生的多样性和现实化特征相关,也使城市,全球和跨文化元素得以体现出来。空间构造。

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