A construção sígnica no cinema de Hitchcock

Detalhes bibliográficos
Autor(a) principal: Santos, Marcelo Moreira
Data de Publicação: 2008
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/5115
Resumo: This present work focuses on Movies as a hybrid form of representation, as the result of the union of three indissoluble, mixed, though distinct languages: the sound, the visual and the verbal ones. It seeks to understand the gearing of those languages in the signic construction of cinematographic works, notably in the case of Hitchcock. It is also the opportunity to highlight the profound signic revolution determined by the advent of images in movement in the end of the XIX century and by seeing, in the hybridism of the cinematographic discourse, a culmination of the esthetics of the fragmentary eighteenth century, notably the Baudelairean one, as it is armed by the fluctuating attention of the poet flâneur, in his dream of Modernity. We took as our main theoretical reference the Semiotics of Charles Sanders Peirce (1839-1914), who supplies the grounds for one to reflect on the epistemology of Movies, thus making possible the development of the analysis of the signic construction of Movies which, in the end, would constitute our understanding of the hybrid language of which they are made up of. Markedly limited by mixtures and juxtapositions of fragments, the cinematographic sign has its genesis delineated by the poetics of movement, by a poetics of inter-relations and exchanges between languages, which dialogs with the metropolitan environment in the end of the XIX century. With the objective of understanding this esthetics and such logic, found both in Movies and the Metropolis, one has sought the reflections of German philosopher Walter Benjamin on the flâneur and the phenomenological experience of the fragment, and the poetry of Charles Baudelaire, the flânerie and his modern dream of fluency amid the multitude, in his giving himself to fast-flowing, cut, abrupt phenomena of the chock. In the first chapter, we shall discuss to what extent the development of Movies is tied to the modern environment of the metropolis. On this path of reflection on the signic genesis of the Movies, it is a must that one investigates and questions the phenomenological nature of its hybrid language. In the second chapter, we shall observe the construction of the hybrid cinematographic sign and clarifies the triad that grounds it: its syntax, its form and its discourse. The third chapter analysis the film Vertigo by Alfred Hitchcock, and shows how, through the weaving of the visual, sound and verbal languages, this director creates, with a masterly hand, the thriller. In the Conclusion, besides reviewing all we have seen, the paper points at new ways one can understand the language of Movies, thus opening new inroads of questionings and hypotheses and deepening the theme and elaborating the horizons for the continuation of the research
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spelling Motta, Leda Tenorio daSantos, Marcelo Moreira2016-04-26T18:17:25Z2008-10-062008-09-29Santos, Marcelo Moreira. A construção sígnica no cinema de Hitchcock. 2008. 109 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2008.https://tede2.pucsp.br/handle/handle/5115This present work focuses on Movies as a hybrid form of representation, as the result of the union of three indissoluble, mixed, though distinct languages: the sound, the visual and the verbal ones. It seeks to understand the gearing of those languages in the signic construction of cinematographic works, notably in the case of Hitchcock. It is also the opportunity to highlight the profound signic revolution determined by the advent of images in movement in the end of the XIX century and by seeing, in the hybridism of the cinematographic discourse, a culmination of the esthetics of the fragmentary eighteenth century, notably the Baudelairean one, as it is armed by the fluctuating attention of the poet flâneur, in his dream of Modernity. We took as our main theoretical reference the Semiotics of Charles Sanders Peirce (1839-1914), who supplies the grounds for one to reflect on the epistemology of Movies, thus making possible the development of the analysis of the signic construction of Movies which, in the end, would constitute our understanding of the hybrid language of which they are made up of. Markedly limited by mixtures and juxtapositions of fragments, the cinematographic sign has its genesis delineated by the poetics of movement, by a poetics of inter-relations and exchanges between languages, which dialogs with the metropolitan environment in the end of the XIX century. With the objective of understanding this esthetics and such logic, found both in Movies and the Metropolis, one has sought the reflections of German philosopher Walter Benjamin on the flâneur and the phenomenological experience of the fragment, and the poetry of Charles Baudelaire, the flânerie and his modern dream of fluency amid the multitude, in his giving himself to fast-flowing, cut, abrupt phenomena of the chock. In the first chapter, we shall discuss to what extent the development of Movies is tied to the modern environment of the metropolis. On this path of reflection on the signic genesis of the Movies, it is a must that one investigates and questions the phenomenological nature of its hybrid language. In the second chapter, we shall observe the construction of the hybrid cinematographic sign and clarifies the triad that grounds it: its syntax, its form and its discourse. The third chapter analysis the film Vertigo by Alfred Hitchcock, and shows how, through the weaving of the visual, sound and verbal languages, this director creates, with a masterly hand, the thriller. In the Conclusion, besides reviewing all we have seen, the paper points at new ways one can understand the language of Movies, thus opening new inroads of questionings and hypotheses and deepening the theme and elaborating the horizons for the continuation of the researchO presente trabalho enfoca o cinema como forma híbrida de representação, resultante da junção de três linguagens indissociáveis, mescladas, mas distintas: a sonora, a visual e a verbal. Busca-se compreender o entrosamento dessas linguagens na construção sígnica das obras cinematográficas, notadamente no caso específico do cinema de Hitchcock. Trata-se também de assinalar a profunda revolução sígnica determinada pelo advento das imagens em movimento, no final do século XIX, vendo no hibridismo do discurso cinematográfico uma culminância das estéticas oitocentistas fragmentárias, notadamente a baudelairiana, tal como é armada pela atenção flutuante do poeta flâneur, em seu sonho de modernidade. Tomamos como referência teórica principal a Semiótica de Charles Sanders Peirce (1839-1914), que dá base para se refletir sobre a epistemologia do cinema objetivando, com isso, o desenvolvimento da análise da construção sígnica dos filmes, que no fim, constituiria em entender a linguagem híbrida pelo qual o cinema é composto. Marcadamente pautado pelas misturas e justaposições de fragmentos, o signo cinematográfico tem sua gênese delineada por uma poética do movimento, por uma poética de inter-relações e intercâmbios entre as linguagens, que dialoga com o ambiente metropolitano no fim do século XIX. Com o objetivo de se compreender essa estética e essa lógica, encontrada tanto no cinema quanto na metrópole, é que se buscou as reflexões do filósofo alemão Walter Benjamin sobre o flâneur e a experiência fenomenológica do fragmento, e a poesia de Charles Baudelaire, a flânerie e seu sonho moderno de fluência em meio a multidão, em sua entrega aos fenômenos fugidios, entrecortados e abruptos do choque. No primeiro capítulo, discute-se em que medida o desenvolvimento do cinema está atrelado ao ambiente moderno da metrópole. Neste caminho de reflexão sobre a gênese sígnica do cinema, torna-se necessário investigar e questionar a natureza fenomenológica de sua linguagem híbrida. No segundo capítulo, observa-se a construção do signo híbrido cinematográfico, esclarecendo a tríade que o fundamenta: a sintaxe, a forma e o discurso. O terceiro capítulo analisa o filme Um corpo que cai de Alfred Hitchcock, mostrando como, através da tessitura das linguagens visual, sonora e verbal, este diretor confecciona com mão de mestre, o suspense. Na conclusão, além de retomar o todo anterior, o trabalho aponta novos caminhos para se entender a linguagem do cinema, abrindo um novo leque de questionamentos e hipóteses, aprofundando o tema e traçando os horizontes para a continuidade da pesquisaFundação de Amparo a Pesquisa do Estado de São Pauloapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/13976/Marcelo%20Moreira%20Santos.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBRComunicaçãoSemióticaUm corpo que cai (Filme)Hitchcock, Alfred -- Sir -- 1899-1990 -- Critica e interpretacaoCinemaCommunicationSemioticsCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOA construção sígnica no cinema de Hitchcockinfo: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_SPTEXTMarcelo Moreira Santos.pdf.txtMarcelo Moreira Santos.pdf.txtExtracted texttext/plain277308https://repositorio.pucsp.br/xmlui/bitstream/handle/5115/3/Marcelo%20Moreira%20Santos.pdf.txtb41c1dbd151802012386f8a672c1afa3MD53ORIGINALMarcelo Moreira Santos.pdfapplication/pdf756567https://repositorio.pucsp.br/xmlui/bitstream/handle/5115/1/Marcelo%20Moreira%20Santos.pdfacdeb10eaafcc8251d17f132e1cff21cMD51THUMBNAILMarcelo Moreira Santos.pdf.jpgMarcelo Moreira Santos.pdf.jpgGenerated Thumbnailimage/jpeg2909https://repositorio.pucsp.br/xmlui/bitstream/handle/5115/2/Marcelo%20Moreira%20Santos.pdf.jpg52686ed822b1af8618c445b44214ab3bMD52handle/51152022-04-28 19:21:38.485oai:repositorio.pucsp.br:handle/5115Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T22:21:38Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false
dc.title.por.fl_str_mv A construção sígnica no cinema de Hitchcock
title A construção sígnica no cinema de Hitchcock
spellingShingle A construção sígnica no cinema de Hitchcock
Santos, Marcelo Moreira
Semiótica
Um corpo que cai (Filme)
Hitchcock, Alfred -- Sir -- 1899-1990 -- Critica e interpretacao
Cinema
Communication
Semiotics
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
title_short A construção sígnica no cinema de Hitchcock
title_full A construção sígnica no cinema de Hitchcock
title_fullStr A construção sígnica no cinema de Hitchcock
title_full_unstemmed A construção sígnica no cinema de Hitchcock
title_sort A construção sígnica no cinema de Hitchcock
author Santos, Marcelo Moreira
author_facet Santos, Marcelo Moreira
author_role author
dc.contributor.advisor1.fl_str_mv Motta, Leda Tenorio da
dc.contributor.author.fl_str_mv Santos, Marcelo Moreira
contributor_str_mv Motta, Leda Tenorio da
dc.subject.por.fl_str_mv Semiótica
Um corpo que cai (Filme)
Hitchcock, Alfred -- Sir -- 1899-1990 -- Critica e interpretacao
Cinema
topic Semiótica
Um corpo que cai (Filme)
Hitchcock, Alfred -- Sir -- 1899-1990 -- Critica e interpretacao
Cinema
Communication
Semiotics
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
dc.subject.eng.fl_str_mv Communication
Semiotics
dc.subject.cnpq.fl_str_mv CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
description This present work focuses on Movies as a hybrid form of representation, as the result of the union of three indissoluble, mixed, though distinct languages: the sound, the visual and the verbal ones. It seeks to understand the gearing of those languages in the signic construction of cinematographic works, notably in the case of Hitchcock. It is also the opportunity to highlight the profound signic revolution determined by the advent of images in movement in the end of the XIX century and by seeing, in the hybridism of the cinematographic discourse, a culmination of the esthetics of the fragmentary eighteenth century, notably the Baudelairean one, as it is armed by the fluctuating attention of the poet flâneur, in his dream of Modernity. We took as our main theoretical reference the Semiotics of Charles Sanders Peirce (1839-1914), who supplies the grounds for one to reflect on the epistemology of Movies, thus making possible the development of the analysis of the signic construction of Movies which, in the end, would constitute our understanding of the hybrid language of which they are made up of. Markedly limited by mixtures and juxtapositions of fragments, the cinematographic sign has its genesis delineated by the poetics of movement, by a poetics of inter-relations and exchanges between languages, which dialogs with the metropolitan environment in the end of the XIX century. With the objective of understanding this esthetics and such logic, found both in Movies and the Metropolis, one has sought the reflections of German philosopher Walter Benjamin on the flâneur and the phenomenological experience of the fragment, and the poetry of Charles Baudelaire, the flânerie and his modern dream of fluency amid the multitude, in his giving himself to fast-flowing, cut, abrupt phenomena of the chock. In the first chapter, we shall discuss to what extent the development of Movies is tied to the modern environment of the metropolis. On this path of reflection on the signic genesis of the Movies, it is a must that one investigates and questions the phenomenological nature of its hybrid language. In the second chapter, we shall observe the construction of the hybrid cinematographic sign and clarifies the triad that grounds it: its syntax, its form and its discourse. The third chapter analysis the film Vertigo by Alfred Hitchcock, and shows how, through the weaving of the visual, sound and verbal languages, this director creates, with a masterly hand, the thriller. In the Conclusion, besides reviewing all we have seen, the paper points at new ways one can understand the language of Movies, thus opening new inroads of questionings and hypotheses and deepening the theme and elaborating the horizons for the continuation of the research
publishDate 2008
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dc.date.issued.fl_str_mv 2008-09-29
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dc.identifier.citation.fl_str_mv Santos, Marcelo Moreira. A construção sígnica no cinema de Hitchcock. 2008. 109 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2008.
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