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Doctoral Thesis
DOI
10.11606/T.27.2018.tde-18092018-165139
Document
Author
Full name
Pedro de Andrade Lima Faissol
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2018
Supervisor
Committee
Borges, Cristian da Silva (President)
Júnior, Luiz Carlos Gonçalves de Oliveira
Mammi, Lorenzo
Silva, Mateus Araújo
Vadico, Luiz Antonio
Title in Portuguese
O milagre como fenômeno cinematográfico Anunciação, Cura do Cego, Ressurreição
Keywords in Portuguese
Cinema e Teatro
Iconografia Renascentista
Imagem Religiosa
Milagres dos Evangelhos
Problemas de Representação
Abstract in Portuguese
A representação do milagre no cinema é um problema. O seu caráter descontínuo solicita do(a) realizador(a) uma tomada de posição: esconder as marcas das operações fílmicas, camuflando-as em prol de uma transparência, ou explicitar sem disfarces os artifícios empregados. Supõe-se que o milagre no cinema seja mais bem resolvido quando se apresenta frontalmente, expondo as suas fraturas através da exacerbação do meio fílmico. A hipótese acima, de natureza axiológica, será verificada na análise de filmes que tematizam três milagres dos Evangelhos: Anunciação, Cura do cego e Ressurreição. Cada milagre será articulado a um diferente problema de representação. Na primeira parte da tese, estudaremos a Anunciação no cinema à luz dos motivos plásticos herdados de sua vasta iconografia. Na segunda parte, dedicada à Cura do cego, analisaremos as operações empregadas na representação do milagre a partir das questões que se colocam pela figuração da imagem religiosa. Na terceira parte da tese, por fim, a Ressurreição: veremos as estratégias de encenação adotadas em função da crença do espectador na representação.
Title in English
The miracle as a cinematographic phenomenon: Annunciation, Healing of the Blind, Resurrection.
Keywords in English
Cinema and Theater
Miracles of the Gospels
Religious Image
Renaissance Iconography
Representational Problems
Abstract in English
The representation of the miracle in films is a problem. Its discontinuous aspect demands from the director to take a position: to hide the traces from the filmic operations, dissimulating them for transparency purpose, or to underline the effects employed. In this thesis we will argue that the miracle is better represented when it shows itself frontally, exposing its disruptions in the explicitness of the filmic means. In order to verify the axiological hypothesis above, we will analyze several films that stage three miracles of the Gospels: Annunciation, Healing of the blind and Resurrection. Each of them will be articulated to a different representational problem. In the first part of the thesis, we will study the Annunciation in films according to the motifs inherited from its vast iconography. In the second part, dedicated to the Healing of the blind, we will analyze the filmic operations employed and the questions posed by the figuration of the religious image. In the third part of the thesis, finally, the Resurrection: we will see the strategies of staging adopted according to the belief of the spectator in the representation.
 
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Publishing Date
2018-09-18
 
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