Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/23168 |
Resumo: | This study focuses on Germany, year zero, a 1948 film cowritten, produced, and directed by the Italian film-maker Roberto Rossellini and regarded as a representative artwork of the Italian neorealism. The piece integrates the so called “trilogy of war”, preceded by Rome, open city (1945) and Paisà (1946). In contrast to the previous productions, this film has received much less attention from the audience and the critics. Based on specialized literature and film analysis, we provide an aesthetic cartography and an ethical cartography to the wanders and meetings of the protagonist, Edmund, a twelve year-old boy who struggles to survive among the rubbles of a Berlin devastated by war, until his unexpected suicide. The film’s aesthetic cartography is revealed in the course of the horizontality of the sequence planes (but also in moments of verticality), in the first planes, in the use of lights and shadows, in the mise-en-scène, in the constant wander of the protagonist, in the use of optic and sound images, which, according to Deleuze, is placed among the neorealist legacy, and in the casting direction that highlights a notorious expressionlessness. The affect cartography, or ethical cartography, arises as an interweaving that merges the aesthetic aspects whilst evoking Spinozism concepts that underlies the idea of ethics as “mode of being”. Through the understanding of Edmund’s body as a speech and based on the assembly of the aforementioned cartographies, the goal is to investigate what that body communicates. Our study aims at defining and exploring aspects attached to the body-time-space relationship, as well as evoking an ethical sense from Spinoza’s point of view. What does Edmund’s body tell us? Our hypothesis is that the “speech” of his body is even more eloquent when it is not saying: Edmund’s body does not act; it reacts instead. Consequently, at certain moments, we have the impression of staring at an expressionless look, such as an automaton’s. As a foreign in his own country, Edmund is nowhere, in a non-childhood. Hence his vulnerability to everything he sees and listens. It’s a saturated, drifted body, which finds place neither among adults or younger and older children. Just before meeting death, this body finally gives itself to games, amusements, and a placeless childhood. As a secondary objective, we tried to make arise from this interweaving, even though its end of apparent hopelessness, what Rossellini claimed to be his intention: bequeath to the cinema an art workpiece of deep love to life as potency and invention of other worlds |
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Pinheiro, José Amálio de Brancohttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K8844078H7Roque, Isabel Rebelo2020-08-11T14:12:41Z2020-06-26Roque, Isabel Rebelo. Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias. 2020. 93 f. Dissertação (Mestrado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2020.https://tede2.pucsp.br/handle/handle/23168This study focuses on Germany, year zero, a 1948 film cowritten, produced, and directed by the Italian film-maker Roberto Rossellini and regarded as a representative artwork of the Italian neorealism. The piece integrates the so called “trilogy of war”, preceded by Rome, open city (1945) and Paisà (1946). In contrast to the previous productions, this film has received much less attention from the audience and the critics. Based on specialized literature and film analysis, we provide an aesthetic cartography and an ethical cartography to the wanders and meetings of the protagonist, Edmund, a twelve year-old boy who struggles to survive among the rubbles of a Berlin devastated by war, until his unexpected suicide. The film’s aesthetic cartography is revealed in the course of the horizontality of the sequence planes (but also in moments of verticality), in the first planes, in the use of lights and shadows, in the mise-en-scène, in the constant wander of the protagonist, in the use of optic and sound images, which, according to Deleuze, is placed among the neorealist legacy, and in the casting direction that highlights a notorious expressionlessness. The affect cartography, or ethical cartography, arises as an interweaving that merges the aesthetic aspects whilst evoking Spinozism concepts that underlies the idea of ethics as “mode of being”. Through the understanding of Edmund’s body as a speech and based on the assembly of the aforementioned cartographies, the goal is to investigate what that body communicates. Our study aims at defining and exploring aspects attached to the body-time-space relationship, as well as evoking an ethical sense from Spinoza’s point of view. What does Edmund’s body tell us? Our hypothesis is that the “speech” of his body is even more eloquent when it is not saying: Edmund’s body does not act; it reacts instead. Consequently, at certain moments, we have the impression of staring at an expressionless look, such as an automaton’s. As a foreign in his own country, Edmund is nowhere, in a non-childhood. Hence his vulnerability to everything he sees and listens. It’s a saturated, drifted body, which finds place neither among adults or younger and older children. Just before meeting death, this body finally gives itself to games, amusements, and a placeless childhood. As a secondary objective, we tried to make arise from this interweaving, even though its end of apparent hopelessness, what Rossellini claimed to be his intention: bequeath to the cinema an art workpiece of deep love to life as potency and invention of other worldsEste trabalho tem por objeto o filme Alemanha ano zero, coescrito, produzido e dirigido pelo cineasta italiano Roberto Rossellini em 1948 e considerado uma das obras representativas do neorrealismo italiano. A produção se insere na chamada “trilogia da guerra”, tendo sido antecedida por Roma, cidade aberta (1945) e Paisà (1946). Diferentemente das duas produções que a antecederam, a obra recebeu muito menos atenção tanto por parte do público como da crítica. Com apoio em bibliografia especializada e na análise da obra, são aqui empreendidas uma cartografia estética e uma cartografia ética da perambulação e dos encontros do protagonista, Edmund, um garoto de 12 anos de idade, em sua luta pela sobrevivência entre escombros em uma Berlim devastada pela guerra, até seu inesperado suicídio. A cartografia estética do filme se evidencia no percurso da horizontalidade dos planos-sequência (mas também em momentos de verticalidade), nos primeiros planos, no jogo de luz e sombra, na mise-en-scène, na perambulação constante do protagonista, na exploração das imagens ópticas e sonoras, que, segundo Deleuze se insere no legado neorrealista, e na direção de atores que investe em uma flagrante inexpressividade. A cartografia de afetos, ou ética, surge como rendilhado que se mescla aos aspectos estéticos, na medida em que vão sendo convocados conceitos espinosistas que subjazem à ideia de ética como “modo de ser”. O objetivo é, a partir da abordagem do corpo de Edmund como discurso e por meio do entrelaçamento entre as duas cartografias citadas, investigar o que esse corpo nos comunica. O trabalho busca delimitar e explorar aspectos ligados à relação corpo-tempo-espaço e evocar um sentido ético do ponto de vista espinosista. E o que nos comunica o corpo de Edmund? Nossa hipótese é de que o “discurso” desse corpo é tão mais eloquente quanto mais ele deixa de dizer: o corpo de Edmund não age; apenas reage. Daí em certos momentos termos a impressão de estar diante de um olhar inexpressivo, como o de um autômato. Estrangeiro em seu próprio país, Edmund está em um não-lugar, uma não-infância. Daí, também, sua vulnerabilidade a tudo o que vê e ouve. Um corpo que, saturado e à deriva, sem lugar entre os adultos, entre as crianças menores e entre as crianças maiores, entrega-se finalmente, pouco antes de se lançar para a morte, à brincadeira, ao jogo, à infância sem lugar. Como objetivo secundário, buscamos fazer emergir desse rendilhado, não obstante seu desfecho de aparente desesperança, o que Rossellini afirmou ter pretendido: legar ao cinema uma obra de profundo amor à vida como potência e invenção de outros mundosCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/52148/Isabel%20Rebelo%20Roque.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBrasilFaculdade de Filosofia, Comunicação, Letras e ArtesCinemaCorpoInfânciaRossellini, Roberto [1906-1977] - Crítica e interpretaçãoBodyChildhoodRossellini, Roberto [1906-1977] - Criticism and interpretationCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOCorpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografiasBody and affect in Germany year zero, by Roberto Rossellini: interweaving cartographiesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTIsabel Rebelo Roque.pdf.txtIsabel Rebelo Roque.pdf.txtExtracted texttext/plain231109https://repositorio.pucsp.br/xmlui/bitstream/handle/23168/5/Isabel%20Rebelo%20Roque.pdf.txtddd1aaa9b9a4747eef2441495f90e914MD55LICENSElicense.txtlicense.txttext/plain; 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dc.title.por.fl_str_mv |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias |
dc.title.alternative.eng.fl_str_mv |
Body and affect in Germany year zero, by Roberto Rossellini: interweaving cartographies |
title |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias |
spellingShingle |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias Roque, Isabel Rebelo Cinema Corpo Infância Rossellini, Roberto [1906-1977] - Crítica e interpretação Body Childhood Rossellini, Roberto [1906-1977] - Criticism and interpretation CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias |
title_full |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias |
title_fullStr |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias |
title_full_unstemmed |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias |
title_sort |
Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias |
author |
Roque, Isabel Rebelo |
author_facet |
Roque, Isabel Rebelo |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Pinheiro, José Amálio de Branco |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K8844078H7 |
dc.contributor.author.fl_str_mv |
Roque, Isabel Rebelo |
contributor_str_mv |
Pinheiro, José Amálio de Branco |
dc.subject.por.fl_str_mv |
Cinema Corpo Infância |
topic |
Cinema Corpo Infância Rossellini, Roberto [1906-1977] - Crítica e interpretação Body Childhood Rossellini, Roberto [1906-1977] - Criticism and interpretation CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Rossellini, Roberto [1906-1977] - Crítica e interpretação Body Childhood Rossellini, Roberto [1906-1977] - Criticism and interpretation |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
This study focuses on Germany, year zero, a 1948 film cowritten, produced, and directed by the Italian film-maker Roberto Rossellini and regarded as a representative artwork of the Italian neorealism. The piece integrates the so called “trilogy of war”, preceded by Rome, open city (1945) and Paisà (1946). In contrast to the previous productions, this film has received much less attention from the audience and the critics. Based on specialized literature and film analysis, we provide an aesthetic cartography and an ethical cartography to the wanders and meetings of the protagonist, Edmund, a twelve year-old boy who struggles to survive among the rubbles of a Berlin devastated by war, until his unexpected suicide. The film’s aesthetic cartography is revealed in the course of the horizontality of the sequence planes (but also in moments of verticality), in the first planes, in the use of lights and shadows, in the mise-en-scène, in the constant wander of the protagonist, in the use of optic and sound images, which, according to Deleuze, is placed among the neorealist legacy, and in the casting direction that highlights a notorious expressionlessness. The affect cartography, or ethical cartography, arises as an interweaving that merges the aesthetic aspects whilst evoking Spinozism concepts that underlies the idea of ethics as “mode of being”. Through the understanding of Edmund’s body as a speech and based on the assembly of the aforementioned cartographies, the goal is to investigate what that body communicates. Our study aims at defining and exploring aspects attached to the body-time-space relationship, as well as evoking an ethical sense from Spinoza’s point of view. What does Edmund’s body tell us? Our hypothesis is that the “speech” of his body is even more eloquent when it is not saying: Edmund’s body does not act; it reacts instead. Consequently, at certain moments, we have the impression of staring at an expressionless look, such as an automaton’s. As a foreign in his own country, Edmund is nowhere, in a non-childhood. Hence his vulnerability to everything he sees and listens. It’s a saturated, drifted body, which finds place neither among adults or younger and older children. Just before meeting death, this body finally gives itself to games, amusements, and a placeless childhood. As a secondary objective, we tried to make arise from this interweaving, even though its end of apparent hopelessness, what Rossellini claimed to be his intention: bequeath to the cinema an art workpiece of deep love to life as potency and invention of other worlds |
publishDate |
2020 |
dc.date.accessioned.fl_str_mv |
2020-08-11T14:12:41Z |
dc.date.issued.fl_str_mv |
2020-06-26 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
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masterThesis |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
Roque, Isabel Rebelo. Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias. 2020. 93 f. Dissertação (Mestrado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2020. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/23168 |
identifier_str_mv |
Roque, Isabel Rebelo. Corpo e afeto em Alemanha ano zero, de Roberto Rossellini: rendilhando cartografias. 2020. 93 f. Dissertação (Mestrado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2020. |
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https://tede2.pucsp.br/handle/handle/23168 |
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language |
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info:eu-repo/semantics/openAccess |
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Pontifícia Universidade Católica de São Paulo |
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Programa de Estudos Pós-Graduados em Comunicação e Semiótica |
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PUC-SP |
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Brasil |
dc.publisher.department.fl_str_mv |
Faculdade de Filosofia, Comunicação, Letras e Artes |
publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
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Biblioteca Digital de Teses e Dissertações da PUC_SP |
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