Poética fílmica: o exemplo de Alfred Hitchcock

Detalhes bibliográficos
Autor(a) principal: Santos, Marcelo Moreira
Data de Publicação: 2012
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/4468
Resumo: This thesis had the objective of studying Poetics of Film. Considering poetry, in the case of cinema, as the process of creation, production and effect achieved by the film, this research s question was: how is a systemic semiotic unit created in a film? Its goal, therefore, was to understand how poetics is structured and engendered. The hypothesis that guided this research were the following: 1) the signs characteristics, which are the hybrid language of cinema, are formed by the integration and complementation of semiotic principles and developments of the aural, visual and verbal languages, 2) the film s systemic ontology is characterized by a collaborative authorship and a complex process of semiosis and communication. To achieve its objective, the research was based on the junction of the Peircean semiotic theory and Edgar Morin and Jorge Vieira s theory of systems. This junction allowed the understanding of the hybrid nature of the filmic sign, which is based on the intersection of three semiotic principles developed by Santaella: syntax, form and discourse. Thus, the filmic interpretation was carried out from Peirce's theory of the interpretants, along with systemic evolutionary parameters. Considering that the cinematography of Alfred Hitchcock constitutes a unique case of an optimized entanglement between semiotics and systemics, the research focused on the study of carefully selected parts from three films by the director: Rear Window (1954), Vertigo (1958) and Psycho (1960). The choice is due to the fact that this filmmaker prepares exemplarily a complex unity in his films, working the characteristics of each language - visual, aural and verbal - on both its autonomy and on the interfaces and integrations between them, generating poetics, ie a way of internal engendering that organizes different elements in a systemic dynamics. The analysis revealed that the suspense in Hitchcock is based on the geometrization of a network of intersemiosis that flows, uniting itself by attractive structures, through which timelines of events and information gradually reveal a representative grammaticality. Thus, in addition to situate and contextualize Hitchcock in poetics of film articulated in different schools and movements throughout history, this research established the concept of systemic ontology cinematography. For, in its ontological bias, the poetics of film is made by an organization of diverse and plural nature, whose active unit is established and maintained by the multiplicity of interactions and cooperation which the semiotics agents involved, with their specialties and functions, are able to produce, develop and transform
id PUC_SP-1_cea2d89eb74ecffd254d820e25c2955a
oai_identifier_str oai:repositorio.pucsp.br:handle/4468
network_acronym_str PUC_SP-1
network_name_str Biblioteca Digital de Teses e Dissertações da PUC_SP
repository_id_str
spelling Santaella, LuciaSantos, Marcelo Moreira2016-04-26T18:12:30Z2012-12-182012-10-26Santos, Marcelo Moreira. Poética fílmica: o exemplo de Alfred Hitchcock. 2012. 256 f. Tese (Doutorado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2012.https://tede2.pucsp.br/handle/handle/4468This thesis had the objective of studying Poetics of Film. Considering poetry, in the case of cinema, as the process of creation, production and effect achieved by the film, this research s question was: how is a systemic semiotic unit created in a film? Its goal, therefore, was to understand how poetics is structured and engendered. The hypothesis that guided this research were the following: 1) the signs characteristics, which are the hybrid language of cinema, are formed by the integration and complementation of semiotic principles and developments of the aural, visual and verbal languages, 2) the film s systemic ontology is characterized by a collaborative authorship and a complex process of semiosis and communication. To achieve its objective, the research was based on the junction of the Peircean semiotic theory and Edgar Morin and Jorge Vieira s theory of systems. This junction allowed the understanding of the hybrid nature of the filmic sign, which is based on the intersection of three semiotic principles developed by Santaella: syntax, form and discourse. Thus, the filmic interpretation was carried out from Peirce's theory of the interpretants, along with systemic evolutionary parameters. Considering that the cinematography of Alfred Hitchcock constitutes a unique case of an optimized entanglement between semiotics and systemics, the research focused on the study of carefully selected parts from three films by the director: Rear Window (1954), Vertigo (1958) and Psycho (1960). The choice is due to the fact that this filmmaker prepares exemplarily a complex unity in his films, working the characteristics of each language - visual, aural and verbal - on both its autonomy and on the interfaces and integrations between them, generating poetics, ie a way of internal engendering that organizes different elements in a systemic dynamics. The analysis revealed that the suspense in Hitchcock is based on the geometrization of a network of intersemiosis that flows, uniting itself by attractive structures, through which timelines of events and information gradually reveal a representative grammaticality. Thus, in addition to situate and contextualize Hitchcock in poetics of film articulated in different schools and movements throughout history, this research established the concept of systemic ontology cinematography. For, in its ontological bias, the poetics of film is made by an organization of diverse and plural nature, whose active unit is established and maintained by the multiplicity of interactions and cooperation which the semiotics agents involved, with their specialties and functions, are able to produce, develop and transformA presente tese tomou como seu objeto de pesquisa a poética fílmica. Entendendo por poética, no caso do cinema, o processo de criação, produção e efeitos alcançados pelo filme, a questão da pesquisa foi: como é gerada uma unidade semiótico-sistêmica em um filme? O objetivo voltou-se, portanto, para a compreensão de como se estrutura e se engendra tal poética. As hipóteses que nortearam o encaminhamento da pesquisa foram as seguintes: 1) as características sígnicas, que constituem a linguagem híbrida do cinema, são formadas pela integração e complementação dos princípios e desdobramentos semióticos das linguagens sonora, visual e verbal; 2) a ontologia sistêmica do filme é marcada pela autoria colaborativa e seu complexo processo de semiose e comunicação. Para alcançar seu objetivo, a pesquisa fundamentou-se na junção da teoria semiótica peirciana com a teoria dos sistemas de Edgar Morin e Jorge Vieira. Essa junção permitiu compreender a natureza híbrida do signo cinematográfico que se fundamenta na intersecção de três princípios semióticos, desenvolvidos por Santaella: a sintaxe, a forma e o discurso. Assim, a interpretação fílmica se realizou a partir da teoria dos interpretantes de Peirce, em comunhão aos parâmetros sistêmicos evolutivos. Por considerarmos que a cinematografia de Alfred Hitchcock constitui-se em um caso otimizado de um entrosamento semiótico e sistêmico ímpar, a pesquisa se concentrou no estudo de partes criteriosamente selecionadas de três filmes do diretor: Janela Indiscreta (1954), Um Corpo que Cai (1958) e Psicose (1960). A escolha se deve ao fato de que esse cineasta confecciona de modo exemplar uma unidade complexa em seus filmes, trabalhando as características de cada linguagem - visual, sonora e verbal - tanto na autonomia de cada uma quanto nas interfaces e integrações entre elas, gerando uma poética, ou seja, certo modo de engendramento interno que organiza diferentes elementos em uma dinâmica sistêmica. A análise revelou que o suspense, em Hitchcock está baseado na geometrização de uma rede de intersemioses que flui, acoplando-se por meio de estruturas atratoras, pelas quais linhas temporais de eventos e informações vão aos poucos revelando uma representativa gramaticalidade. Assim, além de situar e contextualizar Hitchcock nas poéticas fílmicas articuladas em diferentes escolas e movimentos ao longo da história, a pesquisa estabeleceu o conceito de ontologia sistêmica cinematográfica. Em seu viés ontológico, a poética fílmica se faz por meio de uma organização de caráter plural e diverso, cuja unidade ativa se estabelece e se mantém pela multiplicidade de interações e cooperações, as quais os agentes semióticos envolvidos, com suas especialidades e funções, são capazes de produzir, desenvolver e transformarFundação de Amparo a Pesquisa do Estado de São Pauloapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/13236/Marcelo%20Moreira%20Santos.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBRComunicaçãoCinemaSemióticaComplexidadePoéticaHitchcockSemioticsComplexityPoeticsCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOPoética fílmica: o exemplo de Alfred Hitchcockinfo: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_SPTEXTMarcelo Moreira Santos.pdf.txtMarcelo Moreira Santos.pdf.txtExtracted texttext/plain684726https://repositorio.pucsp.br/xmlui/bitstream/handle/4468/3/Marcelo%20Moreira%20Santos.pdf.txt4d32fe6b0088ea682d9d20196903c79dMD53ORIGINALMarcelo Moreira Santos.pdfapplication/pdf1103732https://repositorio.pucsp.br/xmlui/bitstream/handle/4468/1/Marcelo%20Moreira%20Santos.pdff1ca91036fe2c93f88aefaf816bd3e5bMD51THUMBNAILMarcelo Moreira Santos.pdf.jpgMarcelo Moreira Santos.pdf.jpgGenerated Thumbnailimage/jpeg2878https://repositorio.pucsp.br/xmlui/bitstream/handle/4468/2/Marcelo%20Moreira%20Santos.pdf.jpg33d375ea9bad012c3b91a4c88f97e590MD52handle/44682022-04-27 15:00:34.849oai:repositorio.pucsp.br:handle/4468Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-27T18:00:34Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false
dc.title.por.fl_str_mv Poética fílmica: o exemplo de Alfred Hitchcock
title Poética fílmica: o exemplo de Alfred Hitchcock
spellingShingle Poética fílmica: o exemplo de Alfred Hitchcock
Santos, Marcelo Moreira
Cinema
Semiótica
Complexidade
Poética
Hitchcock
Semiotics
Complexity
Poetics
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
title_short Poética fílmica: o exemplo de Alfred Hitchcock
title_full Poética fílmica: o exemplo de Alfred Hitchcock
title_fullStr Poética fílmica: o exemplo de Alfred Hitchcock
title_full_unstemmed Poética fílmica: o exemplo de Alfred Hitchcock
title_sort Poética fílmica: o exemplo de Alfred Hitchcock
author Santos, Marcelo Moreira
author_facet Santos, Marcelo Moreira
author_role author
dc.contributor.advisor1.fl_str_mv Santaella, Lucia
dc.contributor.author.fl_str_mv Santos, Marcelo Moreira
contributor_str_mv Santaella, Lucia
dc.subject.por.fl_str_mv Cinema
Semiótica
Complexidade
Poética
Hitchcock
topic Cinema
Semiótica
Complexidade
Poética
Hitchcock
Semiotics
Complexity
Poetics
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
dc.subject.eng.fl_str_mv Semiotics
Complexity
Poetics
dc.subject.cnpq.fl_str_mv CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
description This thesis had the objective of studying Poetics of Film. Considering poetry, in the case of cinema, as the process of creation, production and effect achieved by the film, this research s question was: how is a systemic semiotic unit created in a film? Its goal, therefore, was to understand how poetics is structured and engendered. The hypothesis that guided this research were the following: 1) the signs characteristics, which are the hybrid language of cinema, are formed by the integration and complementation of semiotic principles and developments of the aural, visual and verbal languages, 2) the film s systemic ontology is characterized by a collaborative authorship and a complex process of semiosis and communication. To achieve its objective, the research was based on the junction of the Peircean semiotic theory and Edgar Morin and Jorge Vieira s theory of systems. This junction allowed the understanding of the hybrid nature of the filmic sign, which is based on the intersection of three semiotic principles developed by Santaella: syntax, form and discourse. Thus, the filmic interpretation was carried out from Peirce's theory of the interpretants, along with systemic evolutionary parameters. Considering that the cinematography of Alfred Hitchcock constitutes a unique case of an optimized entanglement between semiotics and systemics, the research focused on the study of carefully selected parts from three films by the director: Rear Window (1954), Vertigo (1958) and Psycho (1960). The choice is due to the fact that this filmmaker prepares exemplarily a complex unity in his films, working the characteristics of each language - visual, aural and verbal - on both its autonomy and on the interfaces and integrations between them, generating poetics, ie a way of internal engendering that organizes different elements in a systemic dynamics. The analysis revealed that the suspense in Hitchcock is based on the geometrization of a network of intersemiosis that flows, uniting itself by attractive structures, through which timelines of events and information gradually reveal a representative grammaticality. Thus, in addition to situate and contextualize Hitchcock in poetics of film articulated in different schools and movements throughout history, this research established the concept of systemic ontology cinematography. For, in its ontological bias, the poetics of film is made by an organization of diverse and plural nature, whose active unit is established and maintained by the multiplicity of interactions and cooperation which the semiotics agents involved, with their specialties and functions, are able to produce, develop and transform
publishDate 2012
dc.date.available.fl_str_mv 2012-12-18
dc.date.issued.fl_str_mv 2012-10-26
dc.date.accessioned.fl_str_mv 2016-04-26T18:12:30Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/doctoralThesis
format doctoralThesis
status_str publishedVersion
dc.identifier.citation.fl_str_mv Santos, Marcelo Moreira. Poética fílmica: o exemplo de Alfred Hitchcock. 2012. 256 f. Tese (Doutorado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2012.
dc.identifier.uri.fl_str_mv https://tede2.pucsp.br/handle/handle/4468
identifier_str_mv Santos, Marcelo Moreira. Poética fílmica: o exemplo de Alfred Hitchcock. 2012. 256 f. Tese (Doutorado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2012.
url https://tede2.pucsp.br/handle/handle/4468
dc.language.iso.fl_str_mv por
language por
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Pontifícia Universidade Católica de São Paulo
dc.publisher.program.fl_str_mv Programa de Estudos Pós-Graduados em Comunicação e Semiótica
dc.publisher.initials.fl_str_mv PUC-SP
dc.publisher.country.fl_str_mv BR
dc.publisher.department.fl_str_mv Comunicação
publisher.none.fl_str_mv Pontifícia Universidade Católica de São Paulo
dc.source.none.fl_str_mv reponame:Biblioteca Digital de Teses e Dissertações da PUC_SP
instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)
instacron:PUC_SP
instname_str Pontifícia Universidade Católica de São Paulo (PUC-SP)
instacron_str PUC_SP
institution PUC_SP
reponame_str Biblioteca Digital de Teses e Dissertações da PUC_SP
collection Biblioteca Digital de Teses e Dissertações da PUC_SP
bitstream.url.fl_str_mv https://repositorio.pucsp.br/xmlui/bitstream/handle/4468/3/Marcelo%20Moreira%20Santos.pdf.txt
https://repositorio.pucsp.br/xmlui/bitstream/handle/4468/1/Marcelo%20Moreira%20Santos.pdf
https://repositorio.pucsp.br/xmlui/bitstream/handle/4468/2/Marcelo%20Moreira%20Santos.pdf.jpg
bitstream.checksum.fl_str_mv 4d32fe6b0088ea682d9d20196903c79d
f1ca91036fe2c93f88aefaf816bd3e5b
33d375ea9bad012c3b91a4c88f97e590
bitstream.checksumAlgorithm.fl_str_mv MD5
MD5
MD5
repository.name.fl_str_mv Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)
repository.mail.fl_str_mv bngkatende@pucsp.br||rapassi@pucsp.br
_version_ 1809277874955354112