O Gótico de Edgar Allan Poe no cinema

• Autor(a) principal: Pereira, Maria da Luz Alves
• Data de Publicação: 2016
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do Mackenzie
• Texto Completo: http://dspace.mackenzie.br/handle/10899/25178
• topic: cinema; conto; gótico; recursos estéticos; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS

The general objective of this research is to study some adaptations of Edgar Allan Poe to the cinema while the specific objectives are summarized as following: a) to reflect on the literary Gothic, trying to identify its main strategies of representation; b) to investigate the fundamental lines which define the gothic base of the tales and films in order to establish relations between them; c) to analyze the verbal and cinematographic narratives, highlighting the degree of distance and approach between them by recreating the narrative structure; d) to check the level of aesthetic autonomy of the filmic productions in relation to the literary work. As corpus four short stories were selected: “The fall of the house of Usher”, “Metzengerstein”, “William Wilson” and “Never bet the devil your head ― a moral tale”, by Poe; and two films: The fall of the house of Usher and Histoires extraordinaires. The research goes in two directions: firstly, we discuss the Gothic, trying to understand the American Gothic and stand Poe on this aesthetic; secondly, we proceed an interpretative analysis of the narrative texts and after that, based on the verification of inversions and omissions, additions and displacements, we analyze the filmic texts as adaptations. Specifically, it tries to detect from which mechanisms the cinematographic works dialogue with Poe’s work, that is, in what extent they update the nineteenth century work. This thesis is justified by its contribution to the expansion of the theoretical framework of the analysis of adaptations of literary works to the filmic medium and to allow Poe’s work to remain alive in the public/reader’s memory. We hypothesized that there is a dialogue among the different discourses, in order to show that verbal, performative, kinetic and audiovisual elements contribute significantly to the contemporary interpretation of Poe's work.