Tempo-memória: conceitos cinematográficos de Alain Resnais
Autor(a) principal: | |
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Data de Publicação: | 2013 |
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/4523 |
Resumo: | This research analyses time-memory s route into Alain Resnais cinema, specifically in L anée dernière à Marienbad (1961), once we understand that the French director contrasts from the Nouvelle Vague generation for conceiving in his productions a singular point of view of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves and fragmentations of time and memory. We did a descriptive analysis of the path Resnais took from cinematic language to represent the non- successiveness and the non-linearity of time-memory (going against to what the modern thought attempted to fortify), guided through the semiotic resources aforementioned and how they were used so both dimensions, time and memory, could be represented by cinematic language. Starting with the definition and exposure of some time concepts e of cinematic language, we described the manner by which these elements were portrayed e which way the director expects the audience to receive them and the effects (in the audience) the movie longs for attaining. After having clarified the concepts under which Alain Resnais works, we delineated the director s work in a whole, whence we were able to infer other productions that pronounce the Resnais poetic fiction style. We finished the work com a depth and detailed analysis of L anée dernière à Marienbad (1961), work which conferred prestige to the director and focus on exhibiting temporality and memorialism |
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Ferreira, Jerusa Pireshttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4432802J4Fonseca, Guilherme Castro2016-04-26T18:13:02Z2013-08-062013-06-07Fonseca, Guilherme Castro. Tempo-memória: conceitos cinematográficos de Alain Resnais. 2013. 58 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2013.https://tede2.pucsp.br/handle/handle/4523This research analyses time-memory s route into Alain Resnais cinema, specifically in L anée dernière à Marienbad (1961), once we understand that the French director contrasts from the Nouvelle Vague generation for conceiving in his productions a singular point of view of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves and fragmentations of time and memory. We did a descriptive analysis of the path Resnais took from cinematic language to represent the non- successiveness and the non-linearity of time-memory (going against to what the modern thought attempted to fortify), guided through the semiotic resources aforementioned and how they were used so both dimensions, time and memory, could be represented by cinematic language. Starting with the definition and exposure of some time concepts e of cinematic language, we described the manner by which these elements were portrayed e which way the director expects the audience to receive them and the effects (in the audience) the movie longs for attaining. After having clarified the concepts under which Alain Resnais works, we delineated the director s work in a whole, whence we were able to infer other productions that pronounce the Resnais poetic fiction style. We finished the work com a depth and detailed analysis of L anée dernière à Marienbad (1961), work which conferred prestige to the director and focus on exhibiting temporality and memorialismThis research analyses time-memory s route into Alain Resnais cinema, specifically in L anée dernière à Marienbad (1961), once we understand that the French director contrasts from the Nouvelle Vague generation for conceiving in his productions a singular point of view of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves and fragmentations of time and memory. We did a descriptive analysis of the path Resnais took from cinematic language to represent the non- successiveness and the non-linearity of time-memory (going against to what the modern thought attempted to fortify), guided through the semiotic resources aforementioned and how they were used so both dimensions, time and memory, could be represented by cinematic language. Starting with the definition and exposure of some time concepts e of cinematic language, we described the manner by which these elements were portrayed e which way the director expects the audience to receive them and the effects (in the audience) the movie longs for attaining. After having clarified the concepts under which Alain Resnais works, we delineated the director s work in a whole, whence we were able to infer other productions that pronounce the Resnais poetic fiction style. We finished the work com a depth and detailed analysis of L anée dernière à Marienbad (1961), work which conferred prestige to the director and focus on exhibiting temporality and memorialismapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/13317/Guilherme%20Castro%20Fonseca.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBRComunicaçãoLinguagem cinematográficaTempoMemóriaCinematic languageTimeMemoryCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOTempo-memória: conceitos cinematográficos de Alain Resnaisinfo: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_SPTEXTGuilherme Castro Fonseca.pdf.txtGuilherme Castro Fonseca.pdf.txtExtracted texttext/plain114268https://repositorio.pucsp.br/xmlui/bitstream/handle/4523/3/Guilherme%20Castro%20Fonseca.pdf.txt81b18fdcf589e8d540d16747c579fd69MD53ORIGINALGuilherme Castro Fonseca.pdfapplication/pdf295664https://repositorio.pucsp.br/xmlui/bitstream/handle/4523/1/Guilherme%20Castro%20Fonseca.pdf0491291bfe9712c56adf722aab02f1b1MD51THUMBNAILGuilherme Castro Fonseca.pdf.jpgGuilherme Castro Fonseca.pdf.jpgGenerated Thumbnailimage/jpeg3020https://repositorio.pucsp.br/xmlui/bitstream/handle/4523/2/Guilherme%20Castro%20Fonseca.pdf.jpg8777825c688edbc6935ae82198a29185MD52handle/45232022-04-28 17:52:15.381oai:repositorio.pucsp.br:handle/4523Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T20:52:15Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Tempo-memória: conceitos cinematográficos de Alain Resnais |
title |
Tempo-memória: conceitos cinematográficos de Alain Resnais |
spellingShingle |
Tempo-memória: conceitos cinematográficos de Alain Resnais Fonseca, Guilherme Castro Linguagem cinematográfica Tempo Memória Cinematic language Time Memory CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Tempo-memória: conceitos cinematográficos de Alain Resnais |
title_full |
Tempo-memória: conceitos cinematográficos de Alain Resnais |
title_fullStr |
Tempo-memória: conceitos cinematográficos de Alain Resnais |
title_full_unstemmed |
Tempo-memória: conceitos cinematográficos de Alain Resnais |
title_sort |
Tempo-memória: conceitos cinematográficos de Alain Resnais |
author |
Fonseca, Guilherme Castro |
author_facet |
Fonseca, Guilherme Castro |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Ferreira, Jerusa Pires |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4432802J4 |
dc.contributor.author.fl_str_mv |
Fonseca, Guilherme Castro |
contributor_str_mv |
Ferreira, Jerusa Pires |
dc.subject.por.fl_str_mv |
Linguagem cinematográfica Tempo Memória |
topic |
Linguagem cinematográfica Tempo Memória Cinematic language Time Memory CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Cinematic language Time Memory |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
This research analyses time-memory s route into Alain Resnais cinema, specifically in L anée dernière à Marienbad (1961), once we understand that the French director contrasts from the Nouvelle Vague generation for conceiving in his productions a singular point of view of time and memory, mainly concretized in the semiotic apparatus he uses and the semiotic resources embodied in temporal metaphors, bifurcations, lapses, projections, gaps, grooves and fragmentations of time and memory. We did a descriptive analysis of the path Resnais took from cinematic language to represent the non- successiveness and the non-linearity of time-memory (going against to what the modern thought attempted to fortify), guided through the semiotic resources aforementioned and how they were used so both dimensions, time and memory, could be represented by cinematic language. Starting with the definition and exposure of some time concepts e of cinematic language, we described the manner by which these elements were portrayed e which way the director expects the audience to receive them and the effects (in the audience) the movie longs for attaining. After having clarified the concepts under which Alain Resnais works, we delineated the director s work in a whole, whence we were able to infer other productions that pronounce the Resnais poetic fiction style. We finished the work com a depth and detailed analysis of L anée dernière à Marienbad (1961), work which conferred prestige to the director and focus on exhibiting temporality and memorialism |
publishDate |
2013 |
dc.date.available.fl_str_mv |
2013-08-06 |
dc.date.issued.fl_str_mv |
2013-06-07 |
dc.date.accessioned.fl_str_mv |
2016-04-26T18:13:02Z |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/masterThesis |
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masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
Fonseca, Guilherme Castro. Tempo-memória: conceitos cinematográficos de Alain Resnais. 2013. 58 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2013. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/4523 |
identifier_str_mv |
Fonseca, Guilherme Castro. Tempo-memória: conceitos cinematográficos de Alain Resnais. 2013. 58 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2013. |
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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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BR |
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Pontifícia Universidade Católica de São Paulo |
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