Da Linguagem verbal à sincrética: o romance O passado, de Alan Pauls, e sua transcrição para o cinema por Héctor Babenco

The goal of this paper is to reflect on the process of adaptation from literature to cinema in order to understand how are made the choices in this kind of transposition. For that, we will analyze the case of the novel The Past (2003), by Alan Pauls, and its translation into the film language (2007) by Héctor Babenco, using reflections from semiotic studies of literature and cinema

A discursivização em Wall.E: sociedade, tecnologia e poder

This article consists in a discourse analysis of the feature film in animation Wall.e produced by Pixar in association to Disney in 2008. Pixar has been known to produce films that contain various discursive levels, making its products appealing not only for children, but also for adults. However, Wall-e proves to be a masterpiece in Pixar carrier, because it is the one which focuses on the analysis and critique of contemporary society associated with technological development. For this, the plot has as its starting point the question of sustainability and unbridled consumerism. But the film expands the debate, tracing the relationship between technology and humanity, discussing how one affects the other. The project therefore aims to show how the animation works such concepts and constructs his discourse. To this end, the work seeks to identify the signs that make up the discourse and draw the intertextuality between WALL.E and other works that also discuss the same elements such as Stanley Kubrick‟s 2001 - A Space Odyssey (1968)

A violência escolar retratada pelas lentes do cinema

This work of completion is inserted at the interface between violence and school, and how you want to portray violence in school is represented in film productions. We consider important to first discuss in depth the concepts of violence to better understand the phenomenon of school violence, which is a subject much discussed in recent times. One of the types of violence very often nowadays, taking forms that we can call as new, in primary education schools, as well as in society in general, is known as bullying, for some authors the concept is very close to the definition of prejudice in with respect to social factors that reflect the target groups of this type of violence. Other authors also research on the expansion of the recent phenomenon known as School Shooting, which means school shootings, very common in American schools. Our study builds on ideas Debarbieux and Blaya (2002) that treat violence more broadly, taking into account the reports of the victims, including symbolic violence, the institutional and physical. For them, every concept must take into consideration how it was socially constructed, to thereafter be searched. Our goal is to analyze and understand how the issue of school violence is treated theoretically and also as is portrayed through the lens of cinema. Our study is theoretically based on authors like Debarbieux, Blaya, Bourdieu, Charlot, Arendt, Foucault, Sposito, among others, and use the qualitative approach, working with content analysis of films

O cinema sem rua

The project consists of a book-report on the street movie theaters in Brazil, which are increasingly scarce. Multiplexes are taking the market by several factors, including scheduling and directed to the blockbusters that malls provide security, which does not occur in street theaters, which have a more independent programming. The report will portray the film as a physical space and playful all the influence that the place provides, yet is losing its audience

O fantástico em Coraline: uma análise semiótica

The English writer Neil Gaiman has a varied background in various genres of literature and comics. His novel Coraline (2002) was considered a bestseller and received numerous adaptations, including versions for the comics (U.S., 2008, illustrated by P. Craig Russelle) and for a musical off Broadway (USA, 2009). The object of analysis chosen for this research was the adaptation of Coraline for film, Coraline (U.S., 2009), stop motion animation directed by Henry Selick. In the eyes of the general public the film stands out for being an engaging animation. Under a closer look, Coraline becomes a valuable object of study that incorporated the technique of stop motion at the same time that modernized the fantastic genre, usually directed to children and youth, but in that case, reaches many audiences. The objective of this research is to analyze the animation based on theory of origin greimasian, focusing on the narrative that constitutes the fantastic genre in order to infer the regularities of genrer and the specificities of audiovisual product

Gênero discursivo cinema, o filme musical: análise dialógica de Across the Universe

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Literatura, cinema e outras arquiteturas textuais: algumas considerações sobre teorias da adaptação

Studies investigating the relationship between literature and film have been largely oriented by an analysis vector which always departs from literary texts towards films. Moreover, the overwhelming majority of criticism done by renowned theorists such as Robert Stam and Brian McFarlane approaches almost exclusively texts considered canonical. This reveals an overemphasis on the notion that the “primordial” text in a study of adaptation should be the literary text. This essay discusses some of those concepts, challenging the “binary” models in adaptation studies and showing how the vectors of analysis can be usefully reversed, for example, starting from films to literature and to other textual architectures. This approach, shared by theorists such as Linda Hutcheon (2006) and Thomas Leitch (2007), rejects old notions that guided comparisons between literary and filmic texts, such as fidelity and equivalence, replacing them with intertextuality and transmedia storytelling.

Entre o cinema e a poesia, a memória e a imagem

The aim of this essay is to analyze common aspects between cinema and poetry such as image and memory. Images represent the subject’s perception, whose memory of things and feelings are built artistically (fragmentary sequences, a new idea of time and space, no-narrative style) into the language of cinema and poetry. Homological relations between both languages are put in evidence in this essay in order to bring to discussion those aspects that show the tinny frontiers that separate artistic systems.

Imagens escritas, letras desenhadas : literatura e cinema em Ilka B. Laurito e João Antônio. -

Pós-graduação em Letras - FCLAS

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

Cinema hollywoodiano no século XXI: o ritmo em abordagem semiótica e os filmes mais vistos de 2001 a 2010

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Guerra conjugal: o cinema antropofágico de Joaquim Pedro de Andrade

Pós-graduação em Estudos Literários - FCLAR

Uma metodologia para a geração de conteúdos digitais baseado na utilização de estudios virtuais com realidade aumentada

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

Les liaisons dangereuses na Tela: ligações 'perigosas' entre cinema e literatura

The purpose of this article is to comment on the film adaptation by director Stephen Frears of the 18th-century novel Les liaisons dangereuses (in English, Dangerous Liaisons) by Choderlos de Laclos. It compares the film composition to the basic formal aspects of the novel. If, on one hand, Frears’ 1988 film adaptation breaks away from Laclos’ epistolary novel for being aligned with the standard elements of the classical cinema, on the other, it reveals a surprising affinity to the literary work: the relation with the theatrical language.

Glauber Rocha e a dimensão do confronto de ideias na cena midiática: estudo das estratégias do jovem crítico de cinema no Jornal da Bahia no final dos anos 1950

In late 1950, the young Glauber Rocha, still without having directed any of his films, becomes the main cultural critic of the Jornal da Bahia in Salvador, Bahia. His film critic activity falls within the symbolic local disputes and his texts published become an active voice in the cultural field of Bahia. With a considerable apparatus of the press in his favor, the performance of the young critic Glauber Rocha allows to discuss: the role of public intellectual and media production and dissemination of ideas by the newspapers at the turn of the 1950s to the 1960s, a time of intense political, social and cultural changes in Brazil.