O cruzamento de fronteiras entre literatura, cinema e roteiro cinematográfico em "O céu e o fundo do mar", de Fernando Bonassi, e "Miguel e os demônios", de Lourenço Mutarelli
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Data
2019-02-26
Autores
Oliveira, Marília Corrêa Parecis de
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Universidade Estadual Paulista (Unesp)
Resumo
Esta dissertação apresenta um estudo acerca das relações entre literatura, cinema e roteiro cinematográfico no romance O céu e o fundo do mar, de Fernando Bonassi, publicado em 1999, e no romance Miguel e os demônios, de Lourenço Mutarelli, publicado em 2009. Nessas obras, identificamos e investigamos como cada uma delas dialoga com o cinema e com o gênero roteiro cinematográfico, por meio da incorporação de recursos da linguagem cinematográfica pelo texto literário. O nosso objetivo não foi o de comparar linguagens diversas, mas o de permanecer no domínio da escrita e investigar como ela corrobora traços de uma visibilidade ligada à tecnologia audiovisual. Assim, discutimos como as relações entre o cinema e a modernidade implicaram em mudanças na experiência e na percepção que resultaram em transformações significativas nas narrativas ficcionais, tais como a incorporação, na literatura moderna e contemporânea, de procedimentos característicos da linguagem do cinema, a partir da definição do que se pode entender, hoje, como a escrita de romances-roteiro. Desse modo, compreendemos que as obras selecionadas do corpus mobilizam de modo sintomático essas relações que o texto literário estabelece com a linguagem do cinema e com o gênero roteiro, ora incorporando experimentalismos linguísticos como possibilidade de diálogo com o mercado, ora problematizando a ideia do cinema na forma do texto e as dificuldades de representação em um universo inundado pelo audiovisual.
This dissertation presents a study on the relationship between literature, cinema and screenplay in Fernando Bonassi's novel O céu e o fundo do mar, published in 1999, and in the novel Miguel e os demônios, by Lourenço Mutarelli, published in 2009. In these works, we identify and investigate how each one of them dialogues with the cinema and with the cinematographic screenplay genre, through the incorporation of cinematographic language resources by the literary text. Our objective was not to compare different languages, but to remain in the field of writing and investigate how it corroborates traces of a visibility linked to the audiovisual technology. Thus, we discuss how the relations between cinema and modernity imply changes in experience and perception that have resulted in significant transformations in fictional narratives, such as the incorporation, in modern and contemporary literature, of procedures characteristic of cinematographic language, from of the definition of what can be understood today as the writing of novels-script. In this way, we understand that the works of the corpus mobilize in a symptomatic way these relations that the literary text establishes with the cinema language and with the screenplay, sometimes incorporating linguistic experimentalism as a possibility of dialogue with the editorial market, and sometimes problematizing the idea of the cinema in the form of the text and the difficulties of representation in a universe flooded by the audiovisual.
This dissertation presents a study on the relationship between literature, cinema and screenplay in Fernando Bonassi's novel O céu e o fundo do mar, published in 1999, and in the novel Miguel e os demônios, by Lourenço Mutarelli, published in 2009. In these works, we identify and investigate how each one of them dialogues with the cinema and with the cinematographic screenplay genre, through the incorporation of cinematographic language resources by the literary text. Our objective was not to compare different languages, but to remain in the field of writing and investigate how it corroborates traces of a visibility linked to the audiovisual technology. Thus, we discuss how the relations between cinema and modernity imply changes in experience and perception that have resulted in significant transformations in fictional narratives, such as the incorporation, in modern and contemporary literature, of procedures characteristic of cinematographic language, from of the definition of what can be understood today as the writing of novels-script. In this way, we understand that the works of the corpus mobilize in a symptomatic way these relations that the literary text establishes with the cinema language and with the screenplay, sometimes incorporating linguistic experimentalism as a possibility of dialogue with the editorial market, and sometimes problematizing the idea of the cinema in the form of the text and the difficulties of representation in a universe flooded by the audiovisual.
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Cinema, Literatura, Roteiro cinematográfico, Fernando Bonassi, Lourenço Mutarelli, Literature, Screenplay