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Cinema e arquitetura: variações do olhar, variedades de lugar
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Advisor(s)
Abstract(s)
Na intersecção entre o cinema e a arquitetura, o olhar e os lugares se
entrecruzam a partir da construção de narrativas e ambiências que fazem do filme um
mosaico de variedades e variações. Mais do que mero espaço cenográfico, a dimensão do
lugar que compõe a cena agrega valores imateriais e subjetivos que dão sentido e
significado às motivações, ao comportamento, às expectativas e aos valores das
personagens. A casa, o bairro, a cidade são variações objetivas de lugares que existem
para situar a narrativa, mas o modo como essas espacialidades são concebidas e
formatadas a fim de se conectarem ao espectro emocional da obra ultrapassa a esfera da
materialidade desprovida de simbolismos. A partir de exemplos de filmes em que os
lugares expressam mais do que concepções cenográficas, como L’heure d’été (2008),
Visita ou Memórias e Confissões (1982) e Paris-Texas (1984), o trabalho apresenta uma
análise sobre a maneira como a arquitetura age na transformação do olhar do espectador
indicando relações menos óbvia de espaço e propiciando uma experiência estética
permeada pela fruição das várias possibilidades de composição do lugar.
In the intersection between cinema and architecture, the gaze and the places intersect from the construction of narratives and ambiences that make the film a mosaic of varieties and variations. More than mere scenographic space, the dimension of the place that composes the scene adds immaterial and subjective values that give sense and meaning to the motivations, behavior, expectations, and values of the characters. The house, the neighborhood, the city are objective variations of places that exist to situate the narrative, but the way these spatialities are conceived and formatted in order to connect to the emotional spectrum of the work goes beyond the sphere of materiality devoid of symbolisms. Based on examples of films in which places express more than scenographic conceptions, such as L’heure d’été (2008), Visita ou Memórias e Confissões (1982) e Paris-Texas (1984), the paper presents an analysis of how architecture acts in transforming the viewer's gaze by indicating less obvious relationships of space and providing an aesthetic experience permeated by the fruition of the various possibilities of composition of place.
In the intersection between cinema and architecture, the gaze and the places intersect from the construction of narratives and ambiences that make the film a mosaic of varieties and variations. More than mere scenographic space, the dimension of the place that composes the scene adds immaterial and subjective values that give sense and meaning to the motivations, behavior, expectations, and values of the characters. The house, the neighborhood, the city are objective variations of places that exist to situate the narrative, but the way these spatialities are conceived and formatted in order to connect to the emotional spectrum of the work goes beyond the sphere of materiality devoid of symbolisms. Based on examples of films in which places express more than scenographic conceptions, such as L’heure d’été (2008), Visita ou Memórias e Confissões (1982) e Paris-Texas (1984), the paper presents an analysis of how architecture acts in transforming the viewer's gaze by indicating less obvious relationships of space and providing an aesthetic experience permeated by the fruition of the various possibilities of composition of place.
Description
Keywords
Cinema Arquitetura Lugar Espaço Architecture Place Space . Faculdade de Artes e Humanidades
Citation
Publisher
Universidade da Madeira