A trag?dia e o tr?gico no cinema contempor?neo: um estudo a partir da trilogia de Guillermo Arriaga e Alejandro I??rritu

Este trabalho pretende investigar, no campo cinematogr?fico atual, a ocorr?ncia do tr?gico, entendido como vis?o de mundo que constata as limita??es do indiv?duo frente ?s for?as naturais e sobrenaturais que o constituem e ultrapassam, e de elementos tem?ticos, narrativos, pl?sticos e dramat?rgicos...

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Access type:openAccess
Publication Date:2013
Main Author: Costa, Fabio Jos? Rios da
Advisor: Serafim, Jos? Francisco
Referee: Lima, Rachel Esteves, Bamba, Mahomed
Document type: Master thesis
Language:por
Published: Faculdade de Comunica??o
Program: Mestrado em Comunica??o e Cultura Contempor?neas
Portuguese subjects:
Knowledgement areas:
Online Access:http://repositorio.ufba.br/ri/handle/ri/25190
Portuguese abstract:Este trabalho pretende investigar, no campo cinematogr?fico atual, a ocorr?ncia do tr?gico, entendido como vis?o de mundo que constata as limita??es do indiv?duo frente ?s for?as naturais e sobrenaturais que o constituem e ultrapassam, e de elementos tem?ticos, narrativos, pl?sticos e dramat?rgicos da trag?dia grega cl?ssica, enquanto formula??o e express?o original dessa vis?o. A investiga??o ? pautada no percurso da m?mese como princ?pio formativo das dimens?es do sagrado, do ?tico, do est?tico e do ef?mero ao longo da hist?ria do pensamento, e tem como objeto anal?tico espec?fico a trilogia f?lmica composta por Amores Brutos (Amores Perros, 2000, 153min.), 21 Gramas (21 Grams, 2003, 124min.) e Babel (2006, 142min.), dos mexicanos Guillermo Arriaga e Alejandro I??rritu, respectivamente roteirista e diretor. As tr?s produ??es contam hist?rias simult?neas interligadas por um evento (um acidente automobil?stico, no caso dos primeiros, um disparo de rifle no ?ltimo) e s?o narradas com recursos de fragmenta??o espacial e cronol?gica. Como instrumentos de an?lise f?lmica, ser?o utilizadas, al?m das ferramentas usuais e outras julgadas pertinentes, a Po?tica de Arist?teles e a ?mitodologia?, metodologia desenvolvida por Gilbert Durand no ?mbito dos estudos sobre as estruturas antropol?gicas do imagin?rio, de forma a identificar elementos arquet?picos, m?ticos e dramat?rgicos e classificar regimes e modos imag?ticos presentes nas obras.
The present work introduces a research on the occur rence of the tragic element in today's cinema, taking the concept as a worldview which acknowledges the limitations of the individual before the natural and supernatural forces which are part and go beyond him, and of thematic, narrative, plastic and drama elements from the greek tragedy, as a concept and original expression of that same vision. The resear ch is grounded on the itinerary of mimesis as a formative principle of the dimensions of the sacred, the ethical, aesthetic and the ephemeral in the history of thought, and its specific analytical object is the film trilogy Amores Perros (2000, 153min.), 21 Grams (2003, 124 min.) and Babel (2006, 142min.), of screenwriter Guillermo Arriaga and director Alejandro I??rritu, both Mexican. All three productions deal with simultaneous plots linked by an event (a road accident in the first two and a gunshot in the latter) and are narrated by means of the fragmentation of time and space. Besides the usual tools of film analysis, others are used which were considered adequate, like Aristotle?s Poetics and the ?mythodology?, methodology developed by Gilbert Durand for the studies on the anthropological studies of the imaginary, in order to identify archetypal, mythical and dramatic elements and classify schemes and imagery modes present in those works.