Publicação
O vórtice abissal : a mise en abyme e o filme estrutural
| Resumo: | The following work of practical and theoretical investigation follows up, as its first premise, on the problematization around the structural film theme, as it is defined by the film critic P. Adams Sitney, taking as our objects of analysis three films by Michael Snow: Wavelength, Back and Forth, La Région Centrale. This problematization is, by means of these two authors, transposed into the audiovisual artistic praxis through the making of our film Vortex. Therefore, we seek to explore the idea of film as film which focuses on the film as a powerful mean within itself — centered around the confrontation with its formal, material and durational qualities, as well as on the extreme role of the montage as a means of temporal and spatial construction —, as opposed to the methods of dominant (and traditionally narrative) cinema which resort to the medium and to montage procedures exclusively as instruments of representation of a given (illusory) reality, as tools to create stories and (inter)actions between characters. The second main premise concerns the concept of mise en abyme, as it is analysed by Lucien Dallenbach, considering its origin on the writings of André Gide. We define the function of the concept regarding several types of interior duplication which reflect the work of art upon itself, having as our main examples objects from: literature (Les Faux-Monnayeurs by André Gide) and theatre (Hamlet by Shakespeare; L’Illusion Comique by Pierre Corneille), painting (Las Meninas by Velázquez), cinema (Spacy by Takashi Ito). Just like the problematization around the structural film, our investigation on the mise en abyme concept is also transposed into the audiovisual universe through the creation of the film Vortex. As such, we construct a vertiginous space which closes itself on an abyss of screens inside of screens, mirrors inside of mirrors and frames inside of frames: it’s a pure enclosure inside the image world, it is the Descent into the Maelstrom |
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| Autores principais: | Alagôa, Alexandre, 1994- |
| Assunto: | Snow, Michael, 1929- Gide, André, 1869-1951 Ito, Takashi, 1956- Sitney, P. Adams, 1944- Cinema experimental Mise en abyme (Cinema) Espaços - estudos Montagens Clausura |
| Ano: | 2018 |
| 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: | The following work of practical and theoretical investigation follows up, as its first premise, on the problematization around the structural film theme, as it is defined by the film critic P. Adams Sitney, taking as our objects of analysis three films by Michael Snow: Wavelength, Back and Forth, La Région Centrale. This problematization is, by means of these two authors, transposed into the audiovisual artistic praxis through the making of our film Vortex. Therefore, we seek to explore the idea of film as film which focuses on the film as a powerful mean within itself — centered around the confrontation with its formal, material and durational qualities, as well as on the extreme role of the montage as a means of temporal and spatial construction —, as opposed to the methods of dominant (and traditionally narrative) cinema which resort to the medium and to montage procedures exclusively as instruments of representation of a given (illusory) reality, as tools to create stories and (inter)actions between characters. The second main premise concerns the concept of mise en abyme, as it is analysed by Lucien Dallenbach, considering its origin on the writings of André Gide. We define the function of the concept regarding several types of interior duplication which reflect the work of art upon itself, having as our main examples objects from: literature (Les Faux-Monnayeurs by André Gide) and theatre (Hamlet by Shakespeare; L’Illusion Comique by Pierre Corneille), painting (Las Meninas by Velázquez), cinema (Spacy by Takashi Ito). Just like the problematization around the structural film, our investigation on the mise en abyme concept is also transposed into the audiovisual universe through the creation of the film Vortex. As such, we construct a vertiginous space which closes itself on an abyss of screens inside of screens, mirrors inside of mirrors and frames inside of frames: it’s a pure enclosure inside the image world, it is the Descent into the Maelstrom |
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