A poética da infância no cinema: narrativas e contextos

• Autor(a) principal: Rodrigues, Luciana Alves
• Data de Publicação: 2020
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/11029
• topic: Poética; Infância; Cinema; Estética; Poetry; Childhood; Cinema; Esthetic; CIENCIAS HUMANAS::EDUCACAO

The main objective of this research, making up the historical route of the children’s cinema, identifying the first filmography made for this specific public and selecting two brazilian works that presented us an artistic and esthetic quality, is to analyse how the children’s cinema develops its narrative in a poetic context. On this route, others problematizations arise as guiding, poiting to the necessity of understanding what makes a children’s film work be capable of enchanting, touching and reaching us, checking with what subjects these cinematographic narratives communicate, identifying the specific cinema’s language and the image of the childhood representation that is presented on these two movies, so we can reach the premises that exist on the relation among image, poetry and esthetic education. The methodological referential concentrated on the phenomenological perspective, since this is a category of analysis that is in a new design of reality, wich allowed us to explore the vary forms that the phenomenal was presented on each film work examined. On this context, we made a fruitful analogy between the movies O cavalinho azul, by Eduardo Escorel, and Corda Bamba - História de uma menina equilibrista¸ by Eduardo Goldeinstein, based on the theoretical referential chosen, so we could seize if, as Maurice Merleau-Ponty exposes, “a movie is not thought, but perceived”. Besides Merleau-Ponty, who considers the poetical state as a premise to the spectator when they are face to face with the movie, the dialogue was extended to the authors Carlos Melo Ferreira, because of his studies based on the understanding of the relation between poetry and cinema, Georges Didi-Huberman, because oh his studies about the look, wich, according to the author, it is on a paradox between what we look and what simultaneously looks at us, seizing that, what we see looks at us on what we see, and Fabiana de Amorim Marcello, because of her reflections about the split of the look and about the cinema on its possibilities of encounter, thinking the child as an occurrence and destabilising power. All the theoretical discussion and the content analysis pointed to the conclusion that the childhood poetry on cinema is, on many times, carried, but not always perceived. What culminates on the necessity of undersating that is urgent: not just identify the childhood poetry on the representation of the children’s image on the movies, but taking this poetry to new debates, that raise the children recognition as a creator power, as an affirmative power.