Cinema do olhar : reflexões sobre a autoria cinematográfica

Abstract

O presente estudo teve como objetivo remontar o percurso histórico do conceito de autoria cinematográfica a partir da noção de circuito autoral estabelecido entre diretor e receptor e tendo como eixo central a obra audiovisual. Para tanto, buscou-se aprofundar nas múltiplas leituras e adaptações que o conceito sofreu no decorrer da história do cinema, centrando o foco em três principais momentos: a nouvelle vague (enquanto tentativa de transpor para a prática os pressupostos da “política dos autores”), o cinema novo brasileiro (que adaptou o conceito de autoria do cenário europeu para o contexto brasileiro) e o “cinema de poesia” (o manifesto pasoliniano no qual o autor era a figura central). Priorizando a obra como fonte autoral, a pesquisa, de abordagem reflexiva e exploratória, investiga as estruturas proposicionais da mise-en-scène que atravessam todos os processos do filme na tentativa de transpor um pensamento para as telas e refletir sobre a multiplicidade do pensar, fazer e experienciar cinema. _________________________________________________________________________________ ABSTRACT

The present study aims at tracing the historical background of the concept of cinematographic authorship from the notion of “authorial circuit” which is established between director and receiver, having the audiovisual work as a centerpiece. This is why, we dug into multiple readings and adjustments of the concept in the course of film history, focusing on three important moments - the nouvelle vague (as an attempt to put into practice the assumptions of the “authors´ politics”), the Brazilian New Cinema (which adapted the authorship’s conception from the European scene into the Brazilian context) and the "poetic cinema" (the ‘pasolinian’ manifest, in which the author was the central figure), in order to put it into perspective for contemporary usage. Prioritizing the cinematographic work as a source or authorship, the research itself is more reflective and exploratory than conclusive ones, it investigates the propositional structures of mise-en-scene, going through all the processes of the film in an attempt to put all thoughts into the screen and reflects about the multiplicity of thinking, doing and experiencing cinema.