Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações do ANHEMBI |
Texto Completo: | http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1778 |
Resumo: | Starting out working with documentaries on short films, the Polish filmmaker Krzysztof Kieślowski achieved international status with his second fiction feature, Camera Buff (Amator, 1979), centered on a factory worker who acquires a cinematographic camera and perceives it as a new eye capable of exposing contradictions in the sociopolitical context around him. With that in mind, and with a focus on film ethics and aesthetics, this research seeks a similarity of Kieślowski's feature film with the concept of kino-eye conceived by the Soviet filmmaker Dziga Vertov, a disciplinary method of view that focuses on capturing life unawares and filmic reflexivity. The camera on Camera Buff is quite singular, due to the director's choice for a device that does not differentiate textures, merging his own camera with the one handled by the protagonist Filip Mosz (Jerzy Sthur). The duplicity of the camera, cultivated by the montage, creates a uniform and autonomous illusion, thus becoming a resource for self-reflection about filmmaking, working as a political metaphor while producing private records and granting power to the average person – elements that also mark Vertov’s work, whose principles are linked to a social understanding of the world and the images. |
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Cánepa, Laura Loguerciohttp://lattes.cnpq.br/8887782644586702http://lattes.cnpq.br/5664331060343415MELLO, Davi Marques Camargo de2020-05-22T21:51:48Z2018-05-11MELLO, Davi Marques Camargo de. Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov. 2018.102 f. Dissertação (Programa de Pós-Graduação Mestrado em Comunicação) - Universidade Anhembi Morumbi, São Paulo.http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1778Starting out working with documentaries on short films, the Polish filmmaker Krzysztof Kieślowski achieved international status with his second fiction feature, Camera Buff (Amator, 1979), centered on a factory worker who acquires a cinematographic camera and perceives it as a new eye capable of exposing contradictions in the sociopolitical context around him. With that in mind, and with a focus on film ethics and aesthetics, this research seeks a similarity of Kieślowski's feature film with the concept of kino-eye conceived by the Soviet filmmaker Dziga Vertov, a disciplinary method of view that focuses on capturing life unawares and filmic reflexivity. The camera on Camera Buff is quite singular, due to the director's choice for a device that does not differentiate textures, merging his own camera with the one handled by the protagonist Filip Mosz (Jerzy Sthur). The duplicity of the camera, cultivated by the montage, creates a uniform and autonomous illusion, thus becoming a resource for self-reflection about filmmaking, working as a political metaphor while producing private records and granting power to the average person – elements that also mark Vertov’s work, whose principles are linked to a social understanding of the world and the images.Iniciado com curtas-metragens documentais, o diretor polonês Krzysztof Kieślowski alcançou maior status internacional com o seu segundo longa-metragem de ficção, Amador (Amator,1979), centrado num operário que adquire uma câmera cinematográfica e a percebe como um novo olho capaz de evidenciar contradições do contexto sociopolítico ao redor. Em vista disso, pensando sobre ética e estética cinematográficas, este trabalho busca uma aproximação do filme de Kieślowski com o conceito de cine-olho desenvolvido pelo cineasta soviético Dziga Vertov, método disciplinador do olhar que se atém à captação da vida de improviso e à reflexibilidade fílmica. A câmera do filme Amador se comporta de forma bastante singular, uma vez que o diretor opta por um dispositivo que não difere em texturas, mesclando a sua própria câmera com a que está sob o manuseio do protagonista Filip Mosz (Jerzy Sthur). A duplicidade da câmera nutrida pela montagem cria uma ilusão uniforme e autônoma, tornando-se assim um recurso de autorreflexão sobre o fazer cinematográfico, funcionando como metáfora da política enquanto produção de registros privados e à concessão de poder ao homem comum – traços que também marcam a produção de Vertov, cujos princípios estão relacionados a uma compreensão social do mundo e das imagens.Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2019-04-08T20:43:38Z No. of bitstreams: 1 Davi Marques Camargo de Mello.pdf: 3154361 bytes, checksum: 1d8de6111c7b279b9a248d1715a06310 (MD5)Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2020-05-20T21:52:19Z (GMT) No. of bitstreams: 1 Davi Marques Camargo de Mello.pdf: 3154361 bytes, checksum: 1d8de6111c7b279b9a248d1715a06310 (MD5)Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2020-05-22T21:47:51Z (GMT) No. of bitstreams: 1 Davi Marques Camargo de Mello.pdf: 3154361 bytes, checksum: 1d8de6111c7b279b9a248d1715a06310 (MD5)Made available in DSpace on 2020-05-22T21:51:48Z (GMT). No. of bitstreams: 1 Davi Marques Camargo de Mello.pdf: 3154361 bytes, checksum: 1d8de6111c7b279b9a248d1715a06310 (MD5) Previous issue date: 2018-05-11Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfporUniversidade Anhembi MorumbiPrograma de Pós-Graduação Mestrado em ComunicaçãoUAMBrasilUniversidade Anhembi Morumbi::Diretoria de Pesquisa e Pós-graduação Stricto SensuComunicação; Cinema; Polônia; Kieslowski; Vertov; Análise fílmicaCinema; Poland; Kieslowski; Vertov; Film analysis.CIENCIAS SOCIAIS APLICADASAmador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertovinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis-70792067294234000136006006006003930158860712739524-19880619442701333922075167498588264571info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações do ANHEMBIinstname:Universidade Anhembi Morumbiinstacron:ANHEMBIORIGINALDavi Marques Camargo de Mello.pdfDavi Marques Camargo de Mello.pdfapplication/pdf3154361http://D1-ADM-SIT-01:8080/solr/oai/bitstream/TEDE/1778/2/Davi+Marques+Camargo+de+Mello.pdf1d8de6111c7b279b9a248d1715a06310MD52LICENSElicense.txtlicense.txttext/plain; charset=utf-82165http://D1-ADM-SIT-01:8080/solr/oai/bitstream/TEDE/1778/1/license.txtbd3efa91386c1718a7f26a329fdcb468MD51TEDE/1778oai:sitios.anhembi.br:TEDE/17782020-05-22 18:51:48.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http://sitios.anhembi.br/oai/requestopendoar:null2020-06-06 09:54:19.732Biblioteca Digital de Teses e Dissertações do ANHEMBI - Universidade Anhembi Morumbifalse |
dc.title.por.fl_str_mv |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov |
title |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov |
spellingShingle |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov MELLO, Davi Marques Camargo de Comunicação; Cinema; Polônia; Kieslowski; Vertov; Análise fílmica Cinema; Poland; Kieslowski; Vertov; Film analysis. CIENCIAS SOCIAIS APLICADAS |
title_short |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov |
title_full |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov |
title_fullStr |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov |
title_full_unstemmed |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov |
title_sort |
Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov |
author |
MELLO, Davi Marques Camargo de |
author_facet |
MELLO, Davi Marques Camargo de |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Cánepa, Laura Loguercio |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/8887782644586702 |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/5664331060343415 |
dc.contributor.author.fl_str_mv |
MELLO, Davi Marques Camargo de |
contributor_str_mv |
Cánepa, Laura Loguercio |
dc.subject.por.fl_str_mv |
Comunicação; Cinema; Polônia; Kieslowski; Vertov; Análise fílmica |
topic |
Comunicação; Cinema; Polônia; Kieslowski; Vertov; Análise fílmica Cinema; Poland; Kieslowski; Vertov; Film analysis. CIENCIAS SOCIAIS APLICADAS |
dc.subject.eng.fl_str_mv |
Cinema; Poland; Kieslowski; Vertov; Film analysis. |
dc.subject.cnpq.fl_str_mv |
CIENCIAS SOCIAIS APLICADAS |
dc.description.sponsorship.fl_txt_mv |
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES |
dc.description.abstract.eng.fl_txt_mv |
Starting out working with documentaries on short films, the Polish filmmaker Krzysztof Kieślowski achieved international status with his second fiction feature, Camera Buff (Amator, 1979), centered on a factory worker who acquires a cinematographic camera and perceives it as a new eye capable of exposing contradictions in the sociopolitical context around him. With that in mind, and with a focus on film ethics and aesthetics, this research seeks a similarity of Kieślowski's feature film with the concept of kino-eye conceived by the Soviet filmmaker Dziga Vertov, a disciplinary method of view that focuses on capturing life unawares and filmic reflexivity. The camera on Camera Buff is quite singular, due to the director's choice for a device that does not differentiate textures, merging his own camera with the one handled by the protagonist Filip Mosz (Jerzy Sthur). The duplicity of the camera, cultivated by the montage, creates a uniform and autonomous illusion, thus becoming a resource for self-reflection about filmmaking, working as a political metaphor while producing private records and granting power to the average person – elements that also mark Vertov’s work, whose principles are linked to a social understanding of the world and the images. |
dc.description.abstract.por.fl_txt_mv |
Iniciado com curtas-metragens documentais, o diretor polonês Krzysztof Kieślowski alcançou maior status internacional com o seu segundo longa-metragem de ficção, Amador (Amator,1979), centrado num operário que adquire uma câmera cinematográfica e a percebe como um novo olho capaz de evidenciar contradições do contexto sociopolítico ao redor. Em vista disso, pensando sobre ética e estética cinematográficas, este trabalho busca uma aproximação do filme de Kieślowski com o conceito de cine-olho desenvolvido pelo cineasta soviético Dziga Vertov, método disciplinador do olhar que se atém à captação da vida de improviso e à reflexibilidade fílmica. A câmera do filme Amador se comporta de forma bastante singular, uma vez que o diretor opta por um dispositivo que não difere em texturas, mesclando a sua própria câmera com a que está sob o manuseio do protagonista Filip Mosz (Jerzy Sthur). A duplicidade da câmera nutrida pela montagem cria uma ilusão uniforme e autônoma, tornando-se assim um recurso de autorreflexão sobre o fazer cinematográfico, funcionando como metáfora da política enquanto produção de registros privados e à concessão de poder ao homem comum – traços que também marcam a produção de Vertov, cujos princípios estão relacionados a uma compreensão social do mundo e das imagens. |
description |
Starting out working with documentaries on short films, the Polish filmmaker Krzysztof Kieślowski achieved international status with his second fiction feature, Camera Buff (Amator, 1979), centered on a factory worker who acquires a cinematographic camera and perceives it as a new eye capable of exposing contradictions in the sociopolitical context around him. With that in mind, and with a focus on film ethics and aesthetics, this research seeks a similarity of Kieślowski's feature film with the concept of kino-eye conceived by the Soviet filmmaker Dziga Vertov, a disciplinary method of view that focuses on capturing life unawares and filmic reflexivity. The camera on Camera Buff is quite singular, due to the director's choice for a device that does not differentiate textures, merging his own camera with the one handled by the protagonist Filip Mosz (Jerzy Sthur). The duplicity of the camera, cultivated by the montage, creates a uniform and autonomous illusion, thus becoming a resource for self-reflection about filmmaking, working as a political metaphor while producing private records and granting power to the average person – elements that also mark Vertov’s work, whose principles are linked to a social understanding of the world and the images. |
publishDate |
2018 |
dc.date.issued.fl_str_mv |
2018-05-11 |
dc.date.accessioned.fl_str_mv |
2020-05-22T21:51:48Z |
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MELLO, Davi Marques Camargo de. Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov. 2018.102 f. Dissertação (Programa de Pós-Graduação Mestrado em Comunicação) - Universidade Anhembi Morumbi, São Paulo. |
dc.identifier.uri.fl_str_mv |
http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1778 |
identifier_str_mv |
MELLO, Davi Marques Camargo de. Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov. 2018.102 f. Dissertação (Programa de Pós-Graduação Mestrado em Comunicação) - Universidade Anhembi Morumbi, São Paulo. |
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Universidade Anhembi Morumbi |
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