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Doctoral Thesis
DOI
Document
Author
Full name
Alexandre Lúcio Sobrinho
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Mazzari, Marcus Vinicius (President)
Dornbusch, Claudia Sibylle
Galle, Helmut Paul Erich
Maas, Wilma Patricia Marzari Dinardo
Marks, Maria Cecilia
Title in Portuguese
Aleksandr Nikolaevitch Sokúrov: do filme à poesia
Keywords in Portuguese
Aleksandr Sokúrov
Fausto
Goethe
Pintura e cinema
Poesia e cinema
Abstract in Portuguese
Para compreender o Fausto de Sokúrov, o crítico deve levar em conta que percebemos nele, a priori, um diálogo com a pintura e com o teatro, evidentemente. Não se trata apenas de referências, ou intertextos, pois o filme está impregnado de elementos iconográficos e de metáforas, de modo que, ao analisar a obra, é necessário atentar para as sutilezas dos símbolos que são apresentados ao longo do filme. E, mais, a tessitura da narrativa oferece características próprias da poesia. Sendo assim, dir-se-ia que há uma construção próxima à prosa poética, que encontramos na literatura de muitos autores. O objetivo, portanto, desta pesquisa será evidenciar que, a partir de uma interpretação livre, Sokúrov pôs em relevo não só os aspectos poético-literários, mas também incluiu e destacou impressionantes imagens pictóricas, que são mais que meras indicações intertextuais com a pintura de grandes mestres, a saber: Hieronymus Bosch (1450-1516), Lucas Cranach (1472-1553), Herri met de Bles (1510-1555 ou 1560), Albrecht Altdorfer (1480-1538), Pieter Bruegel (1525-1569), Rembrandt Harmenszoon van Rijn (1606-1669), David Teniers, o Jovem (1610-1690), Johannes Vermeer (1632-1675) e Caspar David Friedrich (1774-1840). Com o recurso da imagem e do discurso cinematográfico, salientou as antíteses dos estados de alma, que oscilam, no filme, entre o grotesco e o sublime, o belo e o bizarro, o iluminado e o sombrio, o prazer e a dor, a fé e a ciência, a ordem e o caos, a humildade e a arrogância, apenas para citar alguns aspectos presentes no poema trágico de Goethe.
Title in English
Aleksandr Nikolaevitch Sokúrov: from cinema to poetry
Keywords in English
Aleksandr Sokurov
Faust
Goethe
Painting and cinema
Poetry and cinema
Abstract in English
In order to comprehend Sokurov´s cinematographic version of Goethe´s Faust we must remember that a dialogue with painting is evident besides that with theatre, of course. This is not due only to references or clear "intertexts", but also to the appropriation of painters´styles. This is a help for the construction of a poetic narrative, instead of a plain one. Our search aims to put in evidence that Sokurov is bent to the poetic aspects of Goethe´s Faust, much more than the narrative ones, and is helped by the manners and the paintings of Hieronymus Bosch (1450-1516), Lucas Cranach (1472-1553), Herri met de Bles (1510-1555 ou 1560), Albrecht Altdorfer (1480-1538), Pieter Bruegel (1525-1569), Rembrandt van Rijn (1606-1669), David Teniers, the Young (1610-1690), Vermeer (1632-1675) and Caspar David Friedrich (1774-1840). With such a help, Sokurov uses his cinematographic resources to put in evidence antithesis of human soul that he sees in Goethe´s Faust, such as lust and saintity, the grotesque and the sublime, the beauty and the bizarre, the enlightened and the darkened, the pleasant and the painful, the faithful and the unfaithful, the ordered and the chaotic. Deciding to tread the way of poetry, Sokurov marks the cinematographic art with a narrative that is a poetic hommage to painting and a dreadful vision of the world.
 
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Publishing Date
2019-06-27
 
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