CINEMA AND LANGUAGE: THE POETIC CINEMA IN "THE ZERO IS NOT

• Autor(a) principal: Morel, Marco Aurélio
• Data de Publicação: 2010
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Travessias (Cascavel. Online)
• Texto Completo: https://e-revista.unioeste.br/index.php/travessias/article/view/3092
• topic: Documentário; Poesia; Linguagem cinematográfica.

This study aims to demonstrate, from the documentary "The zero is not empty,"Marcelo Masagão and Andrea Menezes, how it’s possible to work cinematography languageusing its own elements, i.e., as the cinema allows to consist a poetic language exploring itspotential of images, movements, sounds and characters. According to the directors of thedocumentary, the initial project had as scope to demonstrate the writing of people withpsychiatric disorders, conferring a statute to these marginalized writings. However, Masagão realized the depth given by the images, he opted for the "construction" of a portrait of people thatomitted the main feature that had stimulated him to the project: "hid" the history of clinicalpsychiatric of these characters. In proposing this, we understand that the director has developedwhat we call a personal portrait documentary, because "the documentaries that are a personalportrait of the filmmaker consider social issues from a personal perspective" (Nichols, 2005,p.206). From these considerations, we intend to take the cinema as a language capable ofperforming a poetic work, recognizing that, although it still suffers effects of other arts - mainlythe literary, in this case - it has elements that allow it to configure as a characteristic language.