Navegando por Orientadores "SARMENTO-PANTOJA, Carlos Augusto Nascimento"

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Acesso aberto (Open Access)
O discurso do Infilmável: formas de pensar a adaptação entre literatura e cinema
(Universidade Federal do Pará, 2023-09-11) LOUREIRO JUNIOR, João Pereira; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945; https://orcid.org/0000-0003-0552-4295
This thesis reflects on the discourse of the infilmable from the representation of the impossibility in the translation process between literature and cinema, potential justification to evidence a supposed aesthetic impediment in the interartistic relationship the literary and the filmic. To discuss the ways of thinking adaptation from this perspective, we assume that the unfalmable reveals the conflictive relationship between what is proposed to be done (from mechanisms and resources built in the making of the script) and what materialized as an adapted product. This occurs through an intense process of searching for the film and finding solutions to assume the particularity of the cinematographic work, which in the filmable, is as unfalmable, because all cinematic translation is a possibility, a desire to transform aesthetic creation into a language in all its imagery potential. To analyze the constitution of the unfalmable discourses, we used several theoretical frameworks in the field of adaptation that helped us in the research. To discuss relational constructions around the game literature, cinema and translation, we used authors such as Borges (2007), Benjamin (2008), Llosa (2004), Cândido (1972), Adorno (1970), Bernardet (1985). When we discuss the unfalmable, starting from a conceptual, etymological, semantic, linguistic and historical perspective, to reach the places of speech that feed the term, we use authors such as Stam (2008), Avellar (2007), Bazin (1991). To support our readings on translation, adaptation and other related concepts, we propose a dialogue with Figueiredo (2010), Sanchez Noriega (2001), Plaza (2003), Seger (2007), Hutcheon (2013). In order to enhance our discussion, we analyzed some adaptations of films/TV series, based on Don Quixote by Miguel de Cervantes, we used as theoretical contribution scholars such as León (2015); Hidalgo and Arruda (2020), Morell (2022) Silva (2016), Johnson (2003). As a conclusive point for the discursive delimitation that we propose to investigate, this thesis demarcates its position in the field of translation/ adaptation between cinema and literature, evidencing the fragility of a discourse around the unfalmable that potentiates itself in the space of common sense, by the discursive imposition of an uncontrolled impossibility, as soon as it is confronted by the power of translation between the borders that encompass the literary and the filmic and its eternal becoming.
Acesso aberto (Open Access)
A memória das representações de morte e AIDS no conto e no cinema na década de 80
(Universidade Federal do Pará, 2018-08-23) ARAÚJO, Francisco José Corrêa de; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945
The present dissertation entitled "The Memory of Representations of Death and SIDA in the 80's in the Short story and Cinema" analyzes how the memory of the representations of death and aids in the contisio of Caio Fernando Abreu and in the cinematographic production of the end of the decade was constituted. 80. Therefore, in this process we resort to literary, historical, sociological, philosophical and artistics contributions regarding the relations between memory, death and SIDA. The 1980s were marked by the discovery of SIDA and this discovery generated worldwide fear because of the high levels of disease lethality. We can say that the discovery of the HIV virus "immobilized" science, because it was responsible for provoking a set of traumatic situations, which involved silencing, prejudice and entanglement. Therefore, we seek to identify the memory-building process in the history of death and SIDA representations in Brazil, to recognize how Caio Fernando Abreu, in The Dragons do not know paradise (1988), represents death by relating it to SIDA using a literary language of resistance, and reflect on the testimonial content of the film: Crossroads (Directed by Rob Epstein, USA / 1989). The research proposed here follows a methodology of bibliographic study in which we conclude that the memory of SIDA in the 80s reveals a representation of catastrophic death and silencer, marked by prejudice and inefficiency of public policies, but also witnesses the resistance of social movements for the conquest of rights. Thus, the existence of a collective memory that represented the historical reality of SIDA enables us to hope for better days where the human being is more harmoniously related to death, where there is greater understanding of the difference between living with HIV and dying of SIDA. And in this textual construction literature still has much to contribute to breaking the silences that surround the temporality of existing.
Acesso aberto (Open Access)
A personagem Michele da série 3%: ambiguidades, patriacardo e branquitudes na construção do seu perfil
(Universidade Federal do Pará, 2024-05-29) SANTOS, Rayza Carolina Rosa dos; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945; https://orcid.org/0000-0003-0552-4295
In 2008, the children's dystopia The Hunger Games by Suzanne Collins was released, a work that would influence a literary and audiovisual trend of dystopias produced for a mostly young audience, mostly starring women. And in cinema, more specifically, by white women. In this work, it is in this specific context that we analyze the protagonist Michele (Bianca Comparato), from the Brazilian series 3% (2016-2020). We analyzed the construction of its profile, highlighting the marks of patriarchal precepts and their relationships with the representation of resistance movements. The work was chosen because it was the first entirely Brazilian production by the streaming company Netflix and, consequently, because of its wide audience. The series is being studied from its production and launch context – with occasional comparisons with other dystopias and the female profiles of its protagonists – based on feminist gender theories, especially those of bell hooks (2019) and Audre Lorde (2019) and other contemporary authors. Finally, we analyze the work from the perspective of theoretical studies on whiteness and its mechanisms for maintaining power, by authors such as Linda Alcoff (2015), Cida Bento (2022), Lia Vainer (2012) and Françoise Vergès (2019) , because in this study it was possible to notice that audiovisual dystopias starring female and, mainly, white figures, have gained strength in recent years as a trend in productions made for large circulation and commercialization, being marked by representations of less radical resistance. Therefore, the work presented here will seek to highlight that despite the context of representation of resistance, the maintenance of certain aspects of the status quo is still noticeable in the narrative.
Acesso aberto (Open Access)
Realismo traumático na novela Na colônia penal
(Universidade Federal do Pará, 2018-08-31) DIAS, Êrlan Queiroz; SARMENTO-PANTOJA, Carlos Augusto Nascimento; CV: http://lattes.cnpq.br/3263239932031945
This dissertation will address traumatic realism focusing on the fictional prose novel entitled In the Penal Colony, published in 1919, by Franz Kafka and the graphic novel, published in 2011, by Sylvain Ricard and Maël. This analysis seeks to compare the objects of study to understand how traumatic realism is expressed in these novels. This is produced by the manifestation of violence by the authoritarian and oppressive figure (Official) and is directed to the martyred character (Condemned), through the presence of a sentence that will lead him to violence, oppression, torture, trauma and death. The analysis will go beyond the text and the graphic novel, which enhances the perception of the characteristics of traumatic realism. For this, we consider some theoretical approaches about graphic novels and realisms: traumatic and abject, from the studies of Hal Foster (2017), Karl Erik Schøllhammer (2013) and Julia Kristeva (1982). And regarding the relation of graphic novel with the themes of trauma and shock, we use the conceptions of Gina Ross (2014), Sigmund Freud (1980) and Walter Benjamin (1986).