Representações. Arquitectura e Cinema. Documentário e Ficção

• Autor(a) principal: Sandra Rafaela Alves Rocha Pinto
• Data de Publicação: 2015
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/80897
• topic: Artes; Arts

The free and dynamic context which to architecture, as an artistic way of creation, is inherent, contributes to unceasing exploration of its boundaries and possible meetings with other subjects, which contributes to its theories and ways of apprehension. The following thesis makes a critic observation of the way that documental and fictional cinema are used to represent architecture. Despite both cinematographic genres include this discipline in their contents, ever since the beginning of cinema, its conception as one of the themes or the principal theme of the narratives has been, essentially, assumed by the documentary. The Ruptura Silenciosa project is the most recent exception to that drift. The work has been divided in two parts. The first one is an encounter between architecture and cinema throughout history and the second one makes a critic analysis of the limits between cinematographic genres, which subdivides itself in two actions - the disjunction and the junction. From the recovery of a vast group of documental and fictional films, produced by architects and filmmakers, where architecture goes through the main motives of the narrative, ten films have been selected. As study cases, they were being subdivided by the documentary and fiction concepts, which justified the inclusion of the hybrid one. As a result of these practices, it was pretended to create a large web of understandings, which consider the documentary and fiction film as possible ways to represent architecture.