O bricoleur na tela: ponto de vista e dialogismo no filme o homem que copiava, de Jorge Furtado

• Autor(a) principal: Albuquerque , Danilo Luna de
• Data de Publicação: 2016
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFPB
• Texto Completo: https://repositorio.ufpb.br/jspui/handle/tede/9317
• topic: Cinema; Dialogismo; Intertextualidade; Bricolagem; Focalização; Jorge Furtado; LINGUISTICA, LETRAS E ARTES::LETRAS

This dissertation aims to analyze the film O homem que copiava (2003) by Jorge Furtado. The study observes the filmic construction from the concept of the dialogism (BAKHTIN, STAM, 1992 and 2013), mainly discusses the use and contribution of intertextual resources for narrative economy, through the quotation process, allusion and stylization (KRISTEVA, 2005). Added to this, seeks to understand the composition of the film contexture from the use of collages of other discursive series such as comics, games and television, a fusion of aesthetics, through the bricolage strategy to effect the production of meaning in film (LEVISTRAUSS, 1976; GENETTE, 2006). This arrangement of different textual elements emerges as a representation of the fragmented universe from the protagonist character, which expands to the filmic plan. In this sense, the research is also dedicated to examining the structure of point of view in the movie (FRIEDMAN, 2002; BRITO, 2007), through the concept of narrative focus formulated by Gérard Genette (1980), with attention to the use of voice over and the regime in flow of consciousness (CARVALHO, 1981) as fundamental tools for driving and legitimacy of the chosen focal perspective. With the support of these categories the dissertation also interested in observing the problematizations social series that the active film, trying to understand how are themed and built – considering the contemporary model of economic development – the social relations represented, and ethical behavior of the characters. Finally, the study considers a possible style formulation (BORDWELL, 2013; CARREIRO, 2014) by Jorge Furtado as a filmmaker, considering the recurrence of certain aesthetic and narrative patterns in his works, such as bricolage (AUMONT, 2012) and the voice over.