A impressão da não-linearidade temporal no filme "A Chegada": uma análise da montagem enquanto ferramenta de estruturação narrativa

• Autor(a) principal: Pinto, Rebeca Braga
• Data de Publicação: 2021
• Tipo de documento: Trabalho de conclusão de curso
• Idioma: por
• Título da fonte: Repositório Institucional da UNESP
• Texto Completo: http://hdl.handle.net/11449/234652
• topic: Movie theater; Motion picture film; Film editing; Cinematic narrative; Nonlinear storytelling; Arrival; Movie analysis; Cinema; Filme cinematográfico; Montagem cinematográfica; Narrativa cinematográfica; Não-linearidade narrativa; Análise fílmica; A Chegada

This research has as primary premises the cinema's ability to create impressions on the spectator and the processes of film editing as a tool for narrative structure, aiming for the goal to comprehend in which ways the editing process of the movie "Arrival" (2016) has added to the construction of the spectator impressions on temporal nonlinearity placed on it's narrative. In order to do that, firstly it was developed the concepts of film editing field, along with the conceptions that permeate a nonlinear storytelling, so that it was possible to attain a qualitative movie analysis and identify how the film editing process interferes with the spectator reception. Through the analysis of one of the final sequences of the movie, it was possible to verify that, even though the editing process being a resource that in general has to remain indistinguishable in the discursive axis, the part that it plays on the filmic speech is clear, it is a determining factor on the final conception of the product, in which acts on the empirical object as a tool of combinatorial articulation between the diegetic axis and the discursive axis of the movie, so that the temporal nonlinearity theory placed on the diegesis it's applied to the movie form itself, setting a metalinguistics reference and above all, meta-discursive, about the narrative temporal logic. Therefore, the sequence on the discursive axis transports to the spectator it's notion of nonlinear time (one without a beginning and an end defined) inserting them on the temporal experience by inducing their perception through the subjective relationship that is conceive when the chaining of the scenes is assimilated, establishing thus a nonlinear temporal impression.