O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda
Autor(a) principal: | |
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Data de Publicação: | 2017 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/20696 |
Resumo: | The objective of this research is to analyze how the Japanese filmmaker Hirokazu Koreeda transforms the concept of ikigai (生 き が い) into a communicational resource that affects the Japanese and international audiences, to such an extent that it summons life in its everyday singularity and not necessarily from major events. Although ikigai is a difficult term to translate, it has been considered by researchers of diverse areas as "reason for living". The main corpus of the thesis is composed of four films: A luz da ilusão (1995), Depois da vida (1999), Tão distante (2001) and Seguindo em frente (2008). In all of them, there is an emphasis on the questions about life, death and, above all, the memory as a human interaction among the characters. This is because, in addition to the dialogues, the silence and images of the memories express the reason for living of each one of them. In regard to the theoretical framework, we have related bibliographies of Mieko Kamiya's ikigai (2004a, 2004b) with Hirokazu Koreeda's own writings (2001, 2004, 2008, 2016a, 2016d), as well as his interviews, in which the author interprets ikigai in a complex way and elucidates its insertion in contemporary Japanese cinema. In addition, we start with Christine Greiner's (2010 and 2017) research that considers the relationship between Japan and the West from perceptual and empathic chains, without neglecting the cultural singularities, but observing cultures beyond the given categories. As a methodological procedure, we will analyze the four films selected above, observing the filmmaker's script and the work developed by the characters, having as a main focus the interaction of the narration with the bodies that communicate with the external world, according to the ikigai of each one. The main hypothesis is that in the filmography of Koreeda the reason for living of an individual is not restricted to happiness, but also to an obscure and somber side that exposes ambivalences between life and death, joys and sorrows. The contribution of the thesis is to discuss this new interpretation of the concept, besides analyzing the work of a filmmaker who does not have any bibliography in Portuguese |
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Greiner, Christinehttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4360103Y4Tomimatsu, Célia Maki2017-12-15T18:02:47Z2017-12-07Tomimatsu, Célia Maki. O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda. 2017. 100 f. Tese (Doutorado Programa de Estudos Pós-Graduados em Comunicação e Semiótica) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2017.https://tede2.pucsp.br/handle/handle/20696The objective of this research is to analyze how the Japanese filmmaker Hirokazu Koreeda transforms the concept of ikigai (生 き が い) into a communicational resource that affects the Japanese and international audiences, to such an extent that it summons life in its everyday singularity and not necessarily from major events. Although ikigai is a difficult term to translate, it has been considered by researchers of diverse areas as "reason for living". The main corpus of the thesis is composed of four films: A luz da ilusão (1995), Depois da vida (1999), Tão distante (2001) and Seguindo em frente (2008). In all of them, there is an emphasis on the questions about life, death and, above all, the memory as a human interaction among the characters. This is because, in addition to the dialogues, the silence and images of the memories express the reason for living of each one of them. In regard to the theoretical framework, we have related bibliographies of Mieko Kamiya's ikigai (2004a, 2004b) with Hirokazu Koreeda's own writings (2001, 2004, 2008, 2016a, 2016d), as well as his interviews, in which the author interprets ikigai in a complex way and elucidates its insertion in contemporary Japanese cinema. In addition, we start with Christine Greiner's (2010 and 2017) research that considers the relationship between Japan and the West from perceptual and empathic chains, without neglecting the cultural singularities, but observing cultures beyond the given categories. As a methodological procedure, we will analyze the four films selected above, observing the filmmaker's script and the work developed by the characters, having as a main focus the interaction of the narration with the bodies that communicate with the external world, according to the ikigai of each one. The main hypothesis is that in the filmography of Koreeda the reason for living of an individual is not restricted to happiness, but also to an obscure and somber side that exposes ambivalences between life and death, joys and sorrows. The contribution of the thesis is to discuss this new interpretation of the concept, besides analyzing the work of a filmmaker who does not have any bibliography in PortugueseO objetivo desta pesquisa é analisar como o cineasta japonês Hirokazu Koreeda transforma o conceito de ikigai (生きがい) em um recurso comunicacional que afeta o público japonês e as plateias internacionais, na medida em que convoca a vida na sua singularidade cotidiana e não necessariamente a partir de grandes acontecimentos. Embora ikigai seja um termo de difícil tradução, tem sido considerado por pesquisadores de áreas diversas como razão de viver. O corpus principal da tese é composto por quatro filmes: A luz da ilusão (1995), Depois da vida (1999), Tão distante (2001) e Seguindo em frente (2008). Em todos eles, há um destaque para os questionamentos sobre a vida, a morte e, sobretudo, a memória como interação humana entre dos personagens. Isso porque, além dos diálogos, o silêncio e as imagens das lembranças expressam a razão de viver de cada um deles. No que se refere ao quadro teórico, relacionamos bibliografias sobre ikigai de Mieko Kamiya (2004a, 2004b) com os escritos do próprio Hirokazu Koreeda (2001, 2004, 2008, 2016a, 2016d), bem como suas entrevistas, nas quais o autor interpreta ikigai de um modo complexo e elucida a sua inserção no cinema japonês contemporâneo. Além disso, partimos da pesquisa de Christine Greiner (2010 e 2017) que pensa a relação entre Japão e Ocidente a partir de cadeias perceptivas e empatias, sem negligenciar as singularidades culturais, mas observando as culturas para além das categorias dadas a priori. Como procedimento metodológico, analisaremos os quatro filmes acima selecionados, observando o roteiro do cineasta e o trabalho desenvolvido pelos personagens, tendo como foco principal a interação da narração com os corpos que se comunicam com o mundo externo, de acordo com o ikigai de cada um. A hipótese principal é que na filmografia de Koreeda a razão de viver de um indivíduo não se restringe à felicidade, mas também a um lado obscuro e sombrio que expõe ambivalências entre vida e morte, alegrias e tristezas. A contribuição da tese está em discutir esta nova interpretação do conceito, além de analisar a obra de um cineasta que não conta com nenhuma bibliografia em portuguêsCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/44222/C%c3%a9lia%20Maki%20Tomimatsu.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBrasilFaculdade de Filosofia, Comunicação, Letras e ArtesKoreeda, Hirokazu [1962- ]Cinema japonêsIkigaiRazão de viverJapanese movieCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOO cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreedainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTCélia Maki Tomimatsu.pdf.txtCélia Maki Tomimatsu.pdf.txtExtracted texttext/plain144636https://repositorio.pucsp.br/xmlui/bitstream/handle/20696/4/C%c3%a9lia%20Maki%20Tomimatsu.pdf.txtd35c047946208a7cd739ad24b9ac9ee6MD54LICENSElicense.txtlicense.txttext/plain; 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dc.title.por.fl_str_mv |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda |
title |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda |
spellingShingle |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda Tomimatsu, Célia Maki Koreeda, Hirokazu [1962- ] Cinema japonês Ikigai Razão de viver Japanese movie CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda |
title_full |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda |
title_fullStr |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda |
title_full_unstemmed |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda |
title_sort |
O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda |
author |
Tomimatsu, Célia Maki |
author_facet |
Tomimatsu, Célia Maki |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Greiner, Christine |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4360103Y4 |
dc.contributor.author.fl_str_mv |
Tomimatsu, Célia Maki |
contributor_str_mv |
Greiner, Christine |
dc.subject.por.fl_str_mv |
Koreeda, Hirokazu [1962- ] Cinema japonês Ikigai Razão de viver |
topic |
Koreeda, Hirokazu [1962- ] Cinema japonês Ikigai Razão de viver Japanese movie CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Japanese movie |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
The objective of this research is to analyze how the Japanese filmmaker Hirokazu Koreeda transforms the concept of ikigai (生 き が い) into a communicational resource that affects the Japanese and international audiences, to such an extent that it summons life in its everyday singularity and not necessarily from major events. Although ikigai is a difficult term to translate, it has been considered by researchers of diverse areas as "reason for living". The main corpus of the thesis is composed of four films: A luz da ilusão (1995), Depois da vida (1999), Tão distante (2001) and Seguindo em frente (2008). In all of them, there is an emphasis on the questions about life, death and, above all, the memory as a human interaction among the characters. This is because, in addition to the dialogues, the silence and images of the memories express the reason for living of each one of them. In regard to the theoretical framework, we have related bibliographies of Mieko Kamiya's ikigai (2004a, 2004b) with Hirokazu Koreeda's own writings (2001, 2004, 2008, 2016a, 2016d), as well as his interviews, in which the author interprets ikigai in a complex way and elucidates its insertion in contemporary Japanese cinema. In addition, we start with Christine Greiner's (2010 and 2017) research that considers the relationship between Japan and the West from perceptual and empathic chains, without neglecting the cultural singularities, but observing cultures beyond the given categories. As a methodological procedure, we will analyze the four films selected above, observing the filmmaker's script and the work developed by the characters, having as a main focus the interaction of the narration with the bodies that communicate with the external world, according to the ikigai of each one. The main hypothesis is that in the filmography of Koreeda the reason for living of an individual is not restricted to happiness, but also to an obscure and somber side that exposes ambivalences between life and death, joys and sorrows. The contribution of the thesis is to discuss this new interpretation of the concept, besides analyzing the work of a filmmaker who does not have any bibliography in Portuguese |
publishDate |
2017 |
dc.date.accessioned.fl_str_mv |
2017-12-15T18:02:47Z |
dc.date.issued.fl_str_mv |
2017-12-07 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
Tomimatsu, Célia Maki. O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda. 2017. 100 f. Tese (Doutorado Programa de Estudos Pós-Graduados em Comunicação e Semiótica) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2017. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/20696 |
identifier_str_mv |
Tomimatsu, Célia Maki. O cinema que convoca os sentidos da vida: uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda. 2017. 100 f. Tese (Doutorado Programa de Estudos Pós-Graduados em Comunicação e Semiótica) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2017. |
url |
https://tede2.pucsp.br/handle/handle/20696 |
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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 |
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Faculdade de Filosofia, Comunicação, Letras e Artes |
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Pontifícia Universidade Católica de São Paulo |
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