Uma análise da paisagem urbana futurista distópica em “Blade runner – o caçador de androides” através do tripé da visualidade cinematográfica

• Autor(a) principal: Lima, Cristiano Leal de Barros
• Data de Publicação: 2020
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFS
• Texto Completo: https://ri.ufs.br/jspui/handle/riufs/15053
• topic: Comunicação de massa; Cinema; Ficção cientifica; Paisagens no cinema; Fotografias de cenas(cinema); Paisagem cinematográfica; Distopia; Design de produção; Direção cinematográgica; Direção de fotografia; Blade Runner (Filme); Cinematographic landscape; Dystopia; Direction; Photography direction; Production design; Blade Runner; CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

The science fiction film Blade Runner (USA, 1982) outlines a narrative that proposed a representation of a possibility for the year 2019 - a time we have already experienced - of the urban society it portrays. About 38 years after its launch, Blade Runner emerges as a classic, celebrated mainly for its boldness and innovation in the production of the diegetic universe, with emphasis on the representation of the city of Los Angeles from a series of dystopian landscapes. In this context, this research investigates how the so-called tripod of cinematographic visualization (direction, photography direction and production design) was used in order to produce the diegetic universe in which the plot of the film Blade Runner takes place, focusing on how these three functions were essential in the creation of this dystopian world of the city of Los Angeles from the then distant year of 2019 to the point where, from this film, science fiction cinema would suffer profoundly influence in the following decades. Thus, considering the film Blade Runner as an object of investigation in this research, whose methodological nature is essentially qualitative, we assume as a theoretical basis studies on representation, reinvented cinematic city, landscape and space - geographical and cinematographic (Santos, 1997, 1998, 2006) – and also about dystopian science fiction (Dick (2014)). In this way, the cinematographic spaces, the places of the narrative, the where, within this cinematographic megalopolis, could be apprehended using the concepts of City Elements (roads, limits, neighborhoods and landmarks), by Lynch (2011). Research by Barbosa (2013), Araújo (2011), Brandão (2006) and Rowley (2005) about Blade Runner was also contemplated. On the analytical plane, the emphasis was placed on imagery analysis, at the level of the cinematographic plan and sequence, to understand the various urban levels attributed to this reinvented cinematic city. The works of Penafria (2009) and Jullier e Marie (2009) were decisive for this endeavor. The results indicate that the tripod of creation (Direction, Photograph Direction and Production Design) was decisive for the construction of the cinematic landscape in Blade Runner, due to its strategy of reinventing the city of Los Angeles, leaving the field of representation idealized by science fiction, opting for boldness, creativity, innovation and combining a series of techniques that anticipate the digital aesthetic that appears decades later, generating positive receptivity of critics and public and, still, shaping the image of a dystopian futuristic urban city.