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.

A Permanência do clássico mitológico em Omero, Iliade, de Alessandro Baricco

The work Homer, Iliad, by Italian writer Alessandro Baricco (be borned in 1958, in Italy), published in 2004, arose of a project of retelling of Homer’s work, aimed at the theater and which excluded the direct participation of the gods. But until which point the act of not focusing on the gods excluded the relationship between the literary with the mythological? It’s possible return to the classics excluding the presence of pagan gods? Which tripolar relationship could trace among the mythological, the literary and the theatrical in this Italian work? These are the questions that guide the undertaken study, aiming to check the sense that the elements taken from Classical Mythology engender in the produced text and in the artistic context in which it is inserted.

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.

The independence of adaptations: the metanarrativity and metafictionality of Ian McEwan´s Atonement adapted for the cinema

Conceiving of cinematographic adaptations as being independent of their source material has come to be the standard approach for most specialists in this area. The stress on fidelity has made way for many other approaches, such as those focused on intertextuality, on the dilemma of form v. content, or on questions of genre and gender. The objective of this article is to present an overview of the principal theories which have been developed in the area as from 2000 in order to support this notion of independence, which will be exemplified by an exposition of the strategies used to adapt the metafictional and metanarrative elements in Atonement (2001) for the cinema.

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.

A palavra que faz o passado: narrativa e tradição na literatura e no cinema brasileiros dos últimos anos

This work analysesthe way by which the shortstories“O que veio de longe” and “Faca”, by Ronaldo Correia de Brito, and the movie A festa da menina morta, directed by Matheus Nacthergaele, incorporate regional thematic matrix in contemporary narratives that take again tradition and give it a new meaning.

Teatro, cinema e literatura: confluências

Esta coletânea traz 14 estudos apresentados durante dois encontros acadêmicos realizados na Faculdade de Ciências e Letras da Unesp, em Araraquara, em 2011. Os artigos, produzidos por especialistas de diversas áreas, tiveram como foco principal, o tema proposto para os eventos: as confluências entre teatro, cinema e literatura. Na primeira parte do livro, os estudos têm por denominador comum as relações entre peças de teatro, obras cinematográficas e textos literários. Entre os artigos, há uma análise comparativa das características literárias-políticas do alemão Bertold Brecht, a partir de duas de suas peças, e de um filme, de cujo roteiro foi autor, além de uma reflexão sobre o peta e romancista francês Jules Romains, com foco naquilo que o poeta tomou de empréstimo à arte do cinematógrafo, e um texto sobre a técnica cinematográfica do close-up no filme Vagas estrelas da Ursa, de Luchino Visconti, que tem a personagem principal baseada em Electra. “Ato II – Peças, pessoas, personagens”, a segunda parte do livro, tem seu foco no teatro. Entre os artigos, estão uma análise de duas coletâneas de ensaios do crítico teatral Décio de Almeida Prado, um estudo sobre a peça Esperando Godot, de Samuel Beckett, que aborda uma estética do absurdo, modernamente trágica, uma representação critica da ideologia norte-americana em peças de Tennessee Wiliams e uma discussão sobre a religiosidade católica na peça A Revolução dos Beatos, de Dias Gomes.

Maquiagem e a construção de personagens no cinema moderno: estudo do caso Benjamin Button

The o bjective of this dissertation is to present a theoretical essay on the importance of makeup in the creation of characters through the review of The Curious Case of Benjamin Button, a movie directed by David Fincher based on a short-story by F. Scott Fitzgerald. This thesis makes an historica loverview of makeup, including a discussion on its evolution and importance to visual arts, as a background to the analyses of the proposed movie

Estudo clássico e quântico da dissociação molecular induzida por laser

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

Perfil cinético do movimento pirouette do ballet clássico em bailarinas experientes e não experientes

A dança é uma das formas de expressão artística mais antiga da história da humanidade. O movimento da dança em foco no presente estudo foi a pirouette do ballet clássico. Tal movimento é caracterizado por um ou mais giros em torno do seu próprio eixo, executado sobre uma perna seja em meia ponta ou ponta completa, enquanto a outra está flexionada, com o pé abaixo do joelho da perna de apoio. O presente estudo consistiu em examinar o perfil cinético do movimento pirouette de bailarinas experientes e não experientes no Ballet Clássico. A hipótese é de que as variáveis relativas à força para produzir o giro influencie na realização do pirouette. As participantes do estudo foram convidadas a realizar o pirouette sobre uma plataforma de força. Os resultados do presente estudo demonstraram que as bailarinas experientes aplicam maior força para iniciar o giro em relação às participantes não experientes. Em conjunto, os resultados do presente estudo sugerem que a força vertical aplicada para iniciar o giro, a qual denominamos impulso inicial, parece ser determinante para a boa performance no movimento pirouette da bailarina. Os resultados do presente estudo oferece uma importante contribuição aos técnicos e professores de dança de forma a valorizar questões de controle motor e postural no processo ensino-aprendizagem do pirouette

Os primeiros oitenta anos do cinema espanhol: una mirada nostálgica

Panoramic vision of the Spanish Cinema, from 1895 to 1970, rethinking its meaningful periods and directors. Going throw the censured post war cinema, coming to the scene young directors like Carlos Saura, Ivan Zulueta, Pedro Almodóvar and recovering names like: Segundo de Chomón, Luis García Berlanga, Pere Portabella.