Publicação
António Zero
| Resumo: | This dissertation accompanies the feature film Antonio Um Dois Três. It is divided in six autonomous chapters, of essay-like character, that describe crucial points to the conception and development of the work. After an introduction that elucidates the general intentions of this work, there is a second chapter in which it is described a relationship between making art and creating for oneself a mode of existence. In the third it is articulated a thought about miseen-scène starting from the protagonist actor. In the fourth it is thought how the way of production affects the general nature of a film, its dramaturgy and staging, in defense of alternative forms of development. In chapter five, based on Borges's theory of time construction, I write about the possible realities of the same story. Already in the sixth, in conversation with one of the actresses of the feature film, I write about Jean Renoir and his way of making cinema and life |
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| Autores principais: | Mateus, Leonardo Moura, 1991- |
| Assunto: | Mouramateus, Leonardo Bolaño, Roberto 1953-2003 Borges, Jorge Luis, 1899-1986 Dinger, Sofia Renoir, Jean, 1894-1979 Cinematografia Criação artística Tempo Encenação |
| Ano: | 2017 |
| País: | Portugal |
| Tipo de documento: | dissertação de mestrado |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | This dissertation accompanies the feature film Antonio Um Dois Três. It is divided in six autonomous chapters, of essay-like character, that describe crucial points to the conception and development of the work. After an introduction that elucidates the general intentions of this work, there is a second chapter in which it is described a relationship between making art and creating for oneself a mode of existence. In the third it is articulated a thought about miseen-scène starting from the protagonist actor. In the fourth it is thought how the way of production affects the general nature of a film, its dramaturgy and staging, in defense of alternative forms of development. In chapter five, based on Borges's theory of time construction, I write about the possible realities of the same story. Already in the sixth, in conversation with one of the actresses of the feature film, I write about Jean Renoir and his way of making cinema and life |
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