Cão sem dono: focalização e construção da Personagem na adaptação fílmica do romance Até o dia em que o cão morreu

• Autor(a) principal: Lins, Arthur Fernandes Andrade
• Data de Publicação: 2011
• 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/6173
• topic: Literatura e Cinema; Beto Brant; Adaptação fílmica; Narratologia audiovisual; Literature and Film; Beto Brant; Filmic adaptation; Audio-visual narratology; LINGUISTICA, LETRAS E ARTES::LETRAS

Narratology has been proven a fruitful study field when applied to audio-visual languague. This may be because ever since its inception, cinema represented a new form of artistic expression with which to tell stories. This tendency acquires different expressions because of production contexts and the many ways its own language can be articulated. Other art forms, such as literature and theather, already have vast theoretical studie fields regarding their narrative processes, but in the film medium this study field is still little explored. Beyond the systematisation of its narrative codes, to study audio-visual narratology requires an added depth regarding its aesthetical possibilities. Is this research, we will analyze the film Cão sem dono, directed by Beto Brant and Renato Ciasca and adapted from the novel Até o dia em que o cão morreu, by Daniel Galera. Our interests lie in using the adaptative process as a starting point to elucidate questions regarding audio-visual narratives, specifically the concepts of focalization and character and their implications on filmic discourse. For that, we'll use theoretical references of authors dedicated to those categories of literary narrative, such as Gérard Genette, Antonio Candido and Alfredo Carvalho, and others who have proposed more consistent views on the particularities of audio-visual narratology, including François Jost and André Gaudreault, Marcel Martin and João Batista de Brito. It s also our intent to relate some characteristics of the film Cão sem dono with a tendency that s growing very strong in contemporary film. In order to achieve that goal we present a look into the writings of Christian Metz, Gilles Deleuze and André Bazin, regarding dramatic structure and the narrative procedures characteristic of modern film.