Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.

Detalhes bibliográficos
Autor(a) principal: Fioravante, Karina Eugenia
Data de Publicação: 2019
Outros Autores: Nabozny, Almir
Tipo de documento: Artigo
Idioma: por
Título da fonte: Entre-Lugar (Online)
Texto Completo: https://ojs.ufgd.edu.br/entre-lugar/article/view/8916
Resumo:   The objetive of this reflection is to discuss the construction of the cinematic landscape in Quentin Tarantino movies Kill Bill vol. 01 and Kill Bill vol. 02. Firstly it is discussied of the specifities of the cinematic landscapes in the geographical context. In a second moment, it is used as methodological resource particular elements of the cinematographic technic such as frames, planes, angles, camera movements, colors and lightning and it was reached the conclusion that the scenaries and landscape that compose the movies are created through differenciated practices whose give the movies landscapes that points to elements of belonging and non-belonging, coherence and estrangement, linearity and subversion, as well as, harmony and discomfort
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spelling Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino."A Vingança é um prato que se come frio": a construção da paisagem cinemática em TarantinoGeography and Cinema. Cinematic landscape. Cinematographic language. Subjectivities. Quentin Tarantino.Geografia e Cinema. Paisagem cinemática. Linguagem cinematográfica. Subjetividades. Quentin Tarantino.  The objetive of this reflection is to discuss the construction of the cinematic landscape in Quentin Tarantino movies Kill Bill vol. 01 and Kill Bill vol. 02. Firstly it is discussied of the specifities of the cinematic landscapes in the geographical context. In a second moment, it is used as methodological resource particular elements of the cinematographic technic such as frames, planes, angles, camera movements, colors and lightning and it was reached the conclusion that the scenaries and landscape that compose the movies are created through differenciated practices whose give the movies landscapes that points to elements of belonging and non-belonging, coherence and estrangement, linearity and subversion, as well as, harmony and discomfortO objetivo desta reflexão é discutir a construção da paisagem cinemática nos filmes Kill Bill vol. 01 e Kill Bill vol. 02 do cineasta norte-americano Quentin Tarantino. Primeiramente, é discutido a especificidade das paisagens cinemáticas no contexto da Geografia. Em um segundo momento, utiliza-se como recurso metodológico elementos próprios da técnica cinematográfica como enquadramentos, planos, ângulos, movimentos de câmera, cor e iluminação e chegou-se a conclusão de que os cenários e paisagens que compõe os filmes são criados a partir de práticas diferenciadas que conferem aos filmes paisagens que evidenciam elementos de pertencimento e não pertencimento, de coerência e estranhamento, de linearidade e subversão, bem como, de harmonia e incômodo.Editora da Universidade Federal da Grande Dourados2019-07-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://ojs.ufgd.edu.br/entre-lugar/article/view/891610.30612/el.v10i19.8916ENTRE-LUGAR; v. 10 n. 19 (2019); 298-3182177-78292176-9559reponame:Entre-Lugar (Online)instname:Universidade Federal da Grande Dourados (UFGD)instacron:UFGDporhttps://ojs.ufgd.edu.br/entre-lugar/article/view/8916/5197Copyright (c) 2019 ENTRE-LUGARinfo:eu-repo/semantics/openAccessFioravante, Karina EugeniaNabozny, Almir2019-08-02T16:17:47Zoai:ojs.pkp.sfu.ca:article/8916Revistahttps://ojs.ufgd.edu.br/index.php/entre-lugarPUBhttps://ojs.ufgd.edu.br/index.php/entre-lugar/oaimarcosmondardo@yahoo.com.br||charleisilva@ufgd.edu.br||editora.suporte@ufgd.edu.br10.306122177-78292176-9559opendoar:2019-08-02T16:17:47Entre-Lugar (Online) - Universidade Federal da Grande Dourados (UFGD)false
dc.title.none.fl_str_mv Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
"A Vingança é um prato que se come frio": a construção da paisagem cinemática em Tarantino
title Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
spellingShingle Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
Fioravante, Karina Eugenia
Geography and Cinema. Cinematic landscape. Cinematographic language. Subjectivities. Quentin Tarantino.
Geografia e Cinema. Paisagem cinemática. Linguagem cinematográfica. Subjetividades. Quentin Tarantino.
title_short Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
title_full Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
title_fullStr Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
title_full_unstemmed Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
title_sort Revenge is a dish best served cold”: the construction of cinematic landscape in Tarantino.
author Fioravante, Karina Eugenia
author_facet Fioravante, Karina Eugenia
Nabozny, Almir
author_role author
author2 Nabozny, Almir
author2_role author
dc.contributor.author.fl_str_mv Fioravante, Karina Eugenia
Nabozny, Almir
dc.subject.por.fl_str_mv Geography and Cinema. Cinematic landscape. Cinematographic language. Subjectivities. Quentin Tarantino.
Geografia e Cinema. Paisagem cinemática. Linguagem cinematográfica. Subjetividades. Quentin Tarantino.
topic Geography and Cinema. Cinematic landscape. Cinematographic language. Subjectivities. Quentin Tarantino.
Geografia e Cinema. Paisagem cinemática. Linguagem cinematográfica. Subjetividades. Quentin Tarantino.
description   The objetive of this reflection is to discuss the construction of the cinematic landscape in Quentin Tarantino movies Kill Bill vol. 01 and Kill Bill vol. 02. Firstly it is discussied of the specifities of the cinematic landscapes in the geographical context. In a second moment, it is used as methodological resource particular elements of the cinematographic technic such as frames, planes, angles, camera movements, colors and lightning and it was reached the conclusion that the scenaries and landscape that compose the movies are created through differenciated practices whose give the movies landscapes that points to elements of belonging and non-belonging, coherence and estrangement, linearity and subversion, as well as, harmony and discomfort
publishDate 2019
dc.date.none.fl_str_mv 2019-07-30
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://ojs.ufgd.edu.br/entre-lugar/article/view/8916
10.30612/el.v10i19.8916
url https://ojs.ufgd.edu.br/entre-lugar/article/view/8916
identifier_str_mv 10.30612/el.v10i19.8916
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://ojs.ufgd.edu.br/entre-lugar/article/view/8916/5197
dc.rights.driver.fl_str_mv Copyright (c) 2019 ENTRE-LUGAR
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2019 ENTRE-LUGAR
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Editora da Universidade Federal da Grande Dourados
publisher.none.fl_str_mv Editora da Universidade Federal da Grande Dourados
dc.source.none.fl_str_mv ENTRE-LUGAR; v. 10 n. 19 (2019); 298-318
2177-7829
2176-9559
reponame:Entre-Lugar (Online)
instname:Universidade Federal da Grande Dourados (UFGD)
instacron:UFGD
instname_str Universidade Federal da Grande Dourados (UFGD)
instacron_str UFGD
institution UFGD
reponame_str Entre-Lugar (Online)
collection Entre-Lugar (Online)
repository.name.fl_str_mv Entre-Lugar (Online) - Universidade Federal da Grande Dourados (UFGD)
repository.mail.fl_str_mv marcosmondardo@yahoo.com.br||charleisilva@ufgd.edu.br||editora.suporte@ufgd.edu.br
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