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Cinema, Narcisismo e Sentimento de Finitude: a representação da crise do Eu no cinema da segunda metade do séc. XX e séc. XXI
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Esta dissertação propõe-se incidir sobre as estratégias narcísicas reveladas em determinadas personagens do cinema da segunda metade do século XX e início do século XXI. Tomando como objecto de estudo seis filmes de diferentes décadas, o estudo procurará demonstrar de que formas se tratam as angústias de morte, as ansiedades inter-relacionais e outros sintomas narcísicos. Para representar a década de 50, foi escolhido Sunset Blvd., tendo por foco a questão do fim do ‘glamour’. Cléo de 5 à 7, de Agnès Varda (1962) por outro lado, permitirá uma análise sobre a mudança interior da personagem e o medo de uma morte iminente. Para os anos 70, por seu turno, escolhem-se dois marcos cinematográficos: Annie Hall, de Woody Allen (1977) e Fedora, de Billy Wilder (1978). O primeiro evoca as análises de Christopher Lasch, pelas atitudes comparáveis ao que o mesmo designa por cultura do narcisismo, na personagem de Alvy Singer. Quanto a Fedora, de Wilde, irão tratar-se sobretudo das questões de identidade e alteridade. Finalmente, e focada já no início deste século, a presente tese recorre à análise de Dorian Gray, de Oliver Parker (2009), no sentido de tratar o deslumbramento pelo belo em detrimento de padrões morais; com The Neon Demon, de Nicolas Winding Refn (2016), o estudo propõe-se, essencialmente, reflectir sobre objectificação e apropriação do Outro. As condutas ficcionais de cada um dos argumentos estarão umas mais próximas, outras mais díspares entre si, não se esgotando num compartimento estanque, e por vezes partilhando das idiossincrasias alheias.
This thesis aims to touch on the narcissistic strategies that can be found in movie characters during the second half of the 20th century and the beginning of the 21st century. Taking as object of study six films from different decades, this study will seek to demonstrate the way in which death anguishes, interrelational anxieties and other narcissistic symptoms are covered. Sunset Blvd. (Billy Wilder, 1950) was chosen to represent the 50’s and focus on the ‘end of glamour’ issues. On the other hand, Cléo de 5 à 7 (Agnès Varda, 1962), will provide an analysis of the character´s inner change and fear of an imminent death. For the 70’s, in turn, Annie Hall (Woody Allen, 1977) and Fedora (Billy Wilder, 1978) are chosen as two significant cinematographic milestones. The first work recalls Christopher Lasch’s analysis, when comparing Alvy Singer attitudes with Lasch´s The Culture of Narcissism. Regarding to Fedora (Wilder), it will mainly address identity and otherness issues. Finally, and already focused at the beginning of this century, the present thesis makes use of Oliver Parker’s Dorian Gray (2009), to deal with the enchantment by the beauty in detriment of moral standards; with The Neon Demon (Nicolas Winding Refn, 2016), the study design proposes, first of all, to reflect on objectification and appropriation of the other. Some of the fictional conducts of each argument are in close proximity, others, however, are less related, but they are never limited by closed compartments, sometimes sharing of the idiosyncrasies of the remaining ones.
This thesis aims to touch on the narcissistic strategies that can be found in movie characters during the second half of the 20th century and the beginning of the 21st century. Taking as object of study six films from different decades, this study will seek to demonstrate the way in which death anguishes, interrelational anxieties and other narcissistic symptoms are covered. Sunset Blvd. (Billy Wilder, 1950) was chosen to represent the 50’s and focus on the ‘end of glamour’ issues. On the other hand, Cléo de 5 à 7 (Agnès Varda, 1962), will provide an analysis of the character´s inner change and fear of an imminent death. For the 70’s, in turn, Annie Hall (Woody Allen, 1977) and Fedora (Billy Wilder, 1978) are chosen as two significant cinematographic milestones. The first work recalls Christopher Lasch’s analysis, when comparing Alvy Singer attitudes with Lasch´s The Culture of Narcissism. Regarding to Fedora (Wilder), it will mainly address identity and otherness issues. Finally, and already focused at the beginning of this century, the present thesis makes use of Oliver Parker’s Dorian Gray (2009), to deal with the enchantment by the beauty in detriment of moral standards; with The Neon Demon (Nicolas Winding Refn, 2016), the study design proposes, first of all, to reflect on objectification and appropriation of the other. Some of the fictional conducts of each argument are in close proximity, others, however, are less related, but they are never limited by closed compartments, sometimes sharing of the idiosyncrasies of the remaining ones.
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Palavras-chave
Cinema Narcisismo Finitude Aceitação (da Morte) Negação (da Morte) Narcissism Finitude Acceptance (of Death) Denial (of Death)