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Master's Dissertation
DOI
10.11606/D.27.2010.tde-30112010-164937
Document
Author
Full name
Luiz Carlos Gonçalves de Oliveira Junior
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2010
Supervisor
Committee
Xavier, Ismail Norberto (President)
Guimarães Junior, Pedro Maciel
Machado Junior, Rubens Luis Ribeiro
Title in Portuguese
O cinema de fluxo e a mise en scène
Keywords in Portuguese
Crítica cinematográfica
Estética de fluxo
Mise en scène
Abstract in Portuguese
A dissertação é dividida em duas partes. A primeira consiste em um estudo sobre a noção de mise en scène no cinema, levando em conta suas origens teatrais e algumas de suas aplicações na teoria cinematográfica. O enfoque privilegia as definições essencialistas formuladas por uma parcela da crítica francesa, concentrada nas revistas Cahiers du Cinéma e Présence du Cinéma nos anos 1950-60. A segunda parte da dissertação, mais fincada na análise fílmica, aborda alguns elementos estéticos do cinema contemporâneo, dentre eles o conceito de cinema de fluxo, que designa um conjunto de filmes que ocupam um ponto cego em relação à definição clássica de mise en scène trabalhada na parte I. O Intruso (Claire Denis, 2004), Sombra (Philippe Grandrieux), A Viagem do Balão Vermelho (Hou Hsiao-hsien, 2007) e Gerry (Gus Van Sant, 2002) são alguns dos filmes analisados.
Title in English
Cinema of flux and mise-en-scène.
Keywords in English
Aesthetics of flux
Film criticism
Mise-en-scène
Abstract in English
My dissertation is divided in two parts. The first one investigates the concept of mise-enscène as applied to film practice, taking as reference its theatrical origins and some of its extensions to film theory and criticism. My approach privileges the essentialist definitions presented by a group of French critics, focusing on two reviews, Cahiers du Cinéma and Présence du Cinéma, covering their issues published in the 1950s and 1960s. The second part, concentrated on film analysis, discusses some aesthetic features of contemporary cinema such as the notion of cinema of flux, which refers to a set of films located at a blind spot when we look at cinema styles from the standpoint of the classical definition of mise-en-scène discussed in Part I. The intruder (Claire Denis, 2004), Shade (Philippe Grandrieux, 1998), The voyage of the red balloon (Hou Hsiao-hsien, 2007) and Gerry (Gus Van Sant, 2002) are among the films.
 
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Publishing Date
2011-02-21
 
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