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Patologias Fílmicas: Subversão Formal em Narrativas Doentes
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A presente pesquisa parte de um estudo das representações de patologias fisiológicas e psicológicas em duas obras do cinema contemporâneo: Cemitério do Esplendor (Apichatpong Weerasethakul, 2014) e Hiroshima (Pablo Stoll, 2009). O objetivo principal é explorar como o elemento narrativo da doença acaba por incidir também no próprio corpo fílmico, modificando sua estrutura e lançando-o para lugares complexos e insuspeitos. Chamo de "patologia fílmica" o uso inventivo da mise-en-scéne, da montagem e de elementos extra-diegéticos que os realizadores lançam mão a fim de representar seus personagens doentes. Em outros termos, a especificidade destes filmes consiste na união do elemento patológico e da inventividade formal. Tal operação acaba por produzir uma subversão da gramática cinematográfica, contrapondo-se à dramaturgia hegemônica dos manuais de roteiro, somatizando os afetos enfermos dos personagens e gerando uma narrativa doente. A hipótese principal deste estudo é de que a patologia contamina o personagem e acaba adoecendo o próprio filme. Metodologicamente, proponho ler os elementos semióticos dos longa-metragens como um texto e escutar sua narrativa como um discurso na perspectiva da psicanálise, seguindo a linha da Semiótica Psicanalítica e da Clínica da Cultura. Em paralelo a esse aprofundar semiótico, lanço mão da Teoria dos Cineastas utilizando como base materiais extra-fílmicos - entrevistas e textos analíticos redigidos pelos próprios realizadores. A pesquisa também será atravessada por ideias advindas de campos como a filosofia (M. Foucault, G. Deleuze, F. Guattari, E. Morin), História da Arte (G. Didi-Huberman, S. Sontag) além da psicanálise (S. Freud, J. Lacan).
The present research starts from a study of the representations of physiological and psychological pathologies in two works of contemporary cinema: Cemetery of Splendour (Apichatpong Weerasethakul, 2014) and Hiroshima (Pablo Stoll, 2009). The main objective is to explore how the narrative element of the disease ends up also affecting the filmic body itself, modifying its structure and launching it into complex and unsuspected spaces. As proposed in this research, "filmic pathology" is the inventive use of mise-enscéne, editing and extra-diegetic elements combined by the filmmakers in order to represent their sick characters. In other words, the specificity of these films consists in the union of pathological elements and formal inventiveness. This operation ends up producing a subversion of cinematographic grammar, contrasting with the hegemonic dramaturgy of the script manuals, somatizing the characters' feeble affections and generating a sick narrative. The main hypothesis of this study is that the character’s pathology contaminates the film itself. Methodologically, I propose to read the semiotic elements of the feature films as a text and listen to its narrative as a discourse from the perspective of psychoanalysis, following the line of Psychoanalytic Semiotics and the Clinic of Culture. Besides to this semiotic deepening, I use the Filmmakers Theory using extra-film sources as interviews and analytical materials written by the filmmakers themselves. The research will also be crossed by ideas from fields such as philosophy (M. Foucault, G. Deleuze, F. Guattari, E. Morin), Art History (G. Didi-Huberman, S. Sontag) in addition to psychoanalysis (S Freud, J. Lacan).
The present research starts from a study of the representations of physiological and psychological pathologies in two works of contemporary cinema: Cemetery of Splendour (Apichatpong Weerasethakul, 2014) and Hiroshima (Pablo Stoll, 2009). The main objective is to explore how the narrative element of the disease ends up also affecting the filmic body itself, modifying its structure and launching it into complex and unsuspected spaces. As proposed in this research, "filmic pathology" is the inventive use of mise-enscéne, editing and extra-diegetic elements combined by the filmmakers in order to represent their sick characters. In other words, the specificity of these films consists in the union of pathological elements and formal inventiveness. This operation ends up producing a subversion of cinematographic grammar, contrasting with the hegemonic dramaturgy of the script manuals, somatizing the characters' feeble affections and generating a sick narrative. The main hypothesis of this study is that the character’s pathology contaminates the film itself. Methodologically, I propose to read the semiotic elements of the feature films as a text and listen to its narrative as a discourse from the perspective of psychoanalysis, following the line of Psychoanalytic Semiotics and the Clinic of Culture. Besides to this semiotic deepening, I use the Filmmakers Theory using extra-film sources as interviews and analytical materials written by the filmmakers themselves. The research will also be crossed by ideas from fields such as philosophy (M. Foucault, G. Deleuze, F. Guattari, E. Morin), Art History (G. Didi-Huberman, S. Sontag) in addition to psychoanalysis (S Freud, J. Lacan).
Descrição
Palavras-chave
Cinema Corpo Patologia Cinema Contemporâneo Psicanálise Análise Fílmica Contemporary cinema Pathology Psychoanalysis Filmic analysis