Performance and audience appeal in Caesar Must Die
Autor(a) principal: | |
---|---|
Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Verso e Reverso (Online) |
Texto Completo: | https://revistas.unisinos.br/index.php/versoereverso/article/view/ver.2016.31.76.06 |
Resumo: | This paper analyses the acclaimed Italian film Caesar Must Die (2012), directed by Paolo and Vittorio Taviani, which is starred by inmates from Rome’s high-security prison Rebibbia. The present work aims at investigating how the movie’s performances appeal to audience, once reality and fiction intentionally mingle within the picture. Thus, it also approaches how directors use strategies considered as belonging to documentary aesthetics, pushing the boundaries of fiction and documentary genres. Authors such as Richard Schechner (2006), Bruno Leal (2005), André Brasil (2011), Jean Comolli (2008), Ruben Caixeta, and César Guimarães (2008) are included in the theoretical framework. From the definition used by both David Bordwell (2008) and Fernão Pessoa Ramos (2012), the conception of mise-en-scène is taken as an analytical operator.Keywords: performance, mise-en-scène, Caesar Must Die, fiction, documentary. |
id |
UNISINOS-2_d75ec01a0a62af55098e19c998b9af7b |
---|---|
oai_identifier_str |
oai:ojs2.revistas.unisinos.br:article/11450 |
network_acronym_str |
UNISINOS-2 |
network_name_str |
Verso e Reverso (Online) |
repository_id_str |
|
spelling |
Performance and audience appeal in Caesar Must DiePerformance e convocação do espectador na obra César Deve MorrerThis paper analyses the acclaimed Italian film Caesar Must Die (2012), directed by Paolo and Vittorio Taviani, which is starred by inmates from Rome’s high-security prison Rebibbia. The present work aims at investigating how the movie’s performances appeal to audience, once reality and fiction intentionally mingle within the picture. Thus, it also approaches how directors use strategies considered as belonging to documentary aesthetics, pushing the boundaries of fiction and documentary genres. Authors such as Richard Schechner (2006), Bruno Leal (2005), André Brasil (2011), Jean Comolli (2008), Ruben Caixeta, and César Guimarães (2008) are included in the theoretical framework. From the definition used by both David Bordwell (2008) and Fernão Pessoa Ramos (2012), the conception of mise-en-scène is taken as an analytical operator.Keywords: performance, mise-en-scène, Caesar Must Die, fiction, documentary.Este artigo analisa o aclamado filme italiano César Deve Morrer (2012), dirigido por Paolo e Vittorio Taviani e protagonizado por detentos do pavilhão de segurança máxima da prisão de Rebibbia, em Roma. O trabalho tem o objetivo de investigar como as performances presentes na obra convocam o espectador, uma vez que, propositadamente, realidade e ficção se misturam na obra. Assim, também é abordado como os diretores se utilizam de estratégias consideradas próprias do documentário, tensionando as fronteiras entre os gêneros ficcional e documental. Fazem parte do referencial teórico da análise autores como Richard Schechner (2006), Bruno Leal (2005), André Brasil (2011), Jean Comolli (2008), Ruben Caixeta e César Guimarães (2008). O conceito de mise-en-scène é utilizado como operador analítico, a partir da definição utilizada por David Bordwell (2008) e Fernão Pessoa Ramos (2012).Palavras-chave: performance, mise-en-scène, César Deve Morrer, ficção, documentário.Verso e Reverso2016-06-08info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.unisinos.br/index.php/versoereverso/article/view/ver.2016.31.76.0610.4013/ver.2016.31.76.06Verso e Reverso; v. 31 n. 76: janeiro/abril - 2017/1; 56-641806-6925reponame:Verso e Reverso (Online)instname:Universidade do Vale do Rio dos Sinos (UNISINOS)instacron:UNISINOSporhttps://revistas.unisinos.br/index.php/versoereverso/article/view/ver.2016.31.76.06/5840Pirajá, Tess Chamuscainfo:eu-repo/semantics/openAccess2017-08-30T18:35:36Zoai:ojs2.revistas.unisinos.br:article/11450Revistahttp://revistas.unisinos.br/index.php/versoereversoPRIhttp://revistas.unisinos.br/index.php/versoereverso/oaiperiodicos@unisinos.br||bmarocco@unisinos.br1806-69250103-1414opendoar:2017-08-30T18:35:36Verso e Reverso (Online) - Universidade do Vale do Rio dos Sinos (UNISINOS)false |
dc.title.none.fl_str_mv |
Performance and audience appeal in Caesar Must Die Performance e convocação do espectador na obra César Deve Morrer |
title |
Performance and audience appeal in Caesar Must Die |
spellingShingle |
Performance and audience appeal in Caesar Must Die Pirajá, Tess Chamusca |
title_short |
Performance and audience appeal in Caesar Must Die |
title_full |
Performance and audience appeal in Caesar Must Die |
title_fullStr |
Performance and audience appeal in Caesar Must Die |
title_full_unstemmed |
Performance and audience appeal in Caesar Must Die |
title_sort |
Performance and audience appeal in Caesar Must Die |
author |
Pirajá, Tess Chamusca |
author_facet |
Pirajá, Tess Chamusca |
author_role |
author |
dc.contributor.author.fl_str_mv |
Pirajá, Tess Chamusca |
description |
This paper analyses the acclaimed Italian film Caesar Must Die (2012), directed by Paolo and Vittorio Taviani, which is starred by inmates from Rome’s high-security prison Rebibbia. The present work aims at investigating how the movie’s performances appeal to audience, once reality and fiction intentionally mingle within the picture. Thus, it also approaches how directors use strategies considered as belonging to documentary aesthetics, pushing the boundaries of fiction and documentary genres. Authors such as Richard Schechner (2006), Bruno Leal (2005), André Brasil (2011), Jean Comolli (2008), Ruben Caixeta, and César Guimarães (2008) are included in the theoretical framework. From the definition used by both David Bordwell (2008) and Fernão Pessoa Ramos (2012), the conception of mise-en-scène is taken as an analytical operator.Keywords: performance, mise-en-scène, Caesar Must Die, fiction, documentary. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-06-08 |
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://revistas.unisinos.br/index.php/versoereverso/article/view/ver.2016.31.76.06 10.4013/ver.2016.31.76.06 |
url |
https://revistas.unisinos.br/index.php/versoereverso/article/view/ver.2016.31.76.06 |
identifier_str_mv |
10.4013/ver.2016.31.76.06 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.unisinos.br/index.php/versoereverso/article/view/ver.2016.31.76.06/5840 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Verso e Reverso |
publisher.none.fl_str_mv |
Verso e Reverso |
dc.source.none.fl_str_mv |
Verso e Reverso; v. 31 n. 76: janeiro/abril - 2017/1; 56-64 1806-6925 reponame:Verso e Reverso (Online) instname:Universidade do Vale do Rio dos Sinos (UNISINOS) instacron:UNISINOS |
instname_str |
Universidade do Vale do Rio dos Sinos (UNISINOS) |
instacron_str |
UNISINOS |
institution |
UNISINOS |
reponame_str |
Verso e Reverso (Online) |
collection |
Verso e Reverso (Online) |
repository.name.fl_str_mv |
Verso e Reverso (Online) - Universidade do Vale do Rio dos Sinos (UNISINOS) |
repository.mail.fl_str_mv |
periodicos@unisinos.br||bmarocco@unisinos.br |
_version_ |
1800219585745518592 |