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Publicação
Formas e fronteiras da narrativa cinematográfica: o cinema de Sandro Aguilar
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Resumo(s)
Por múltiplas razões, desde cedo que o cinema se moldou como uma nova
ferramenta de construção narrativa. Por ser uma arte da imagem, o cinema foi muitas
vezes relacionado com uma técnica meramente ilustrativa das histórias escritas, vendo as
suas qualidades formais serem negligenciadas. Desde então, a narrativa e as suas
propriedades, ou seja, a sua narratividade, têm sido trabalhadas de diferentes maneiras
por vários cineastas ao longo das décadas, alguns dos quais tentam contornar as normas
clássicas pré-estabelecidas, orientando o seu trabalho na direção de vertentes mais
experimentais.
Esta dissertação incide sobre o papel da narrativa e da construção ficcional no
cinema, tendo como objeto de estudo o trabalho do realizador português Sandro
Aguilar. De modo a compreender de que forma a ficção e a diegese são usadas pelo
cineasta do ponto de vista de uma exploração experimental e sensorial, em que a
consequência e conclusão narrativa são proteladas, analisa-se as formas narrativas na sua
obra e as suas implicações no âmbito de uma desconstrução do paradigma narrativo. Com
vista a uma análise dos métodos e ferramentas usadas por si, desde o processo de rodagem
à montagem, procurou-se estabelecer três eixos de investigação ao seu cinema: o uso da
narrativa e a subversão dos dispositivos clássicos; a estreita relação da ótica documental
com o espaço ficcional; a vertente experimental e estrutural.
Ao longo deste estudo, tentamos compreender ainda como certas lógicas prédeterminadas pelo espectador estão na base de uma relação conflituosa com certas obras
consideradas experimentais, por essas lógicas se verem confrontadas com novos códigos
que cada filme estabelece. Com isto, espera-se poder contribuir para a produção de um
pensamento e uma visão ampla sobre um cinema, por vezes, considerado hermético ou
inacessível.
For multiple reasons, cinema has shaped itself early on as a new tool for narrative construction. Being an art of image, cinema was often related to a merely illustrative technique of written stories, with its formal qualities being neglected. Since then, narrative and its properties, i.e., its narrativity, have been approached in different ways by various filmmakers over the decades, some of whom try to circumvent pre-established classical norms, directing their work towards more experimental approaches. This dissertation focuses on the role of narrative and fictional construction in cinema, with the work of Portuguese director Sandro Aguilar as the object of study. In order to understand how fiction and diegesis are used by the filmmaker from the perspective of experimental and sensory exploration, in which narrative consequence and conclusion are deferred, the narrative forms in his work and their implications in the context of a deconstruction of the narrative paradigm are analyzed. Aiming to analyze the methods and tools he uses, from the shooting process to editing, three axes of investigation into his cinema were established: the use of narrative and the subversion of classical devices; the close relationship between documentary optics and fictional space; and the experimental and structural aspect. Throughout this study, we also try to understand how certain pre-determined logics by the spectator are at the root of a conflicting relationship with certain works considered experimental, as these logics are confronted with new codes that each film establishes. With this, we hope to contribute to the development of a broad perspective and thought on a type of cinema sometimes considered hermetic or inaccessible.
For multiple reasons, cinema has shaped itself early on as a new tool for narrative construction. Being an art of image, cinema was often related to a merely illustrative technique of written stories, with its formal qualities being neglected. Since then, narrative and its properties, i.e., its narrativity, have been approached in different ways by various filmmakers over the decades, some of whom try to circumvent pre-established classical norms, directing their work towards more experimental approaches. This dissertation focuses on the role of narrative and fictional construction in cinema, with the work of Portuguese director Sandro Aguilar as the object of study. In order to understand how fiction and diegesis are used by the filmmaker from the perspective of experimental and sensory exploration, in which narrative consequence and conclusion are deferred, the narrative forms in his work and their implications in the context of a deconstruction of the narrative paradigm are analyzed. Aiming to analyze the methods and tools he uses, from the shooting process to editing, three axes of investigation into his cinema were established: the use of narrative and the subversion of classical devices; the close relationship between documentary optics and fictional space; and the experimental and structural aspect. Throughout this study, we also try to understand how certain pre-determined logics by the spectator are at the root of a conflicting relationship with certain works considered experimental, as these logics are confronted with new codes that each film establishes. With this, we hope to contribute to the development of a broad perspective and thought on a type of cinema sometimes considered hermetic or inaccessible.
Descrição
Palavras-chave
Narratividade Ficção Experimental Documental Não ficção Sandro Aguilar Espectador Poiesis Narrativity Experimental Fiction Documental Non-fiction Spectator