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Title: O invisível virado do avesso: um estudo do filme "Jogo de Cena" de Eduardo Coutinho
Other Titles: The invisible turned inside out: a study of the movie Cena de Cena by Eduardo Coutinho
metadata.dc.creator: FARIAS, Andréa Morais de
metadata.dc.contributor.advisor1: SILVA, Joel Cardoso da
Keywords: Cinema brasileiro - Análise
Cinema - Mulheres
Filme cinematográfico - Estudo de caso
Eduardo Coutinho
Issue Date: 29-Jun-2018
Publisher: Universidade Federal do Pará
Citation: FARIAS, Andréa Morais de. O invisível virado do avesso: um estudo do filme "Jogo de Cena" de Eduardo Coutinho. Orientador: Joel Cardoso da Silva. 2018. 88 f. Dissertação (Mestrado em Artes) - Programa de Pós-Graduação em Artes, Instituto de Ciências da Arte, Universidade Federal do Pará, Belém, 2018. Disponível em: Acesso em:.
Abstract: The dissertation that is presented intends to reflect on the possibilities of practical application of the art of representing in the cinema, from a personal trajectory until entering in the film Jogo de cena (2007) of the director Eduardo Coutinho. For this, we analyzed elements of the cinematic language, seen in the film, such as framing, character, movements, talks to achieve a remembrance of the characters' stories. Scene play was filmed in a theater with only women, all are somehow actresses (known or not), who quote their stories between the memories and the art of representing, with structural mixtures of the concepts of documentary and fiction. Throughout the work, we sought to establish dialogue with reflections in my story, from an enchantment to the cinema to the choice of the object of study, which is the film Jogo de cena, using personal experiences and documentary materiality about the film as a method, we seek, from the characters, to investigate how each of the women reinvents herself in the art of representing, from her memories, between concepts and theories of authors and film researchers, such as Fernão Pessoa Ramos, Bill Nichols, Manuela Penafria, Ismail Xavier, Jean Claude Bernardet, Cláudia Mesquita, Consuelo Lins, among others. It presents a theoretical problem, which transfigures in an analysis without the pretension of specifying the intentionality of the director in the application of the art of representing, as well as of the spectator, since the film gains autonomy, and the spectators, can enter into that territory and to derive predictable meanings and interpretations, but never inexhaustible.
Appears in Collections:Dissertações em Artes (Mestrado) - PPGARTES/ICA

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