Cinema e literatura: Manoel de Oliveira, José Régio e o pensamento crítico da revista Presença
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Data
2020-06-30
Autores
Silva, Mariana Veiga Copertino Ferreira da [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Esta tese propõe um estudo da produção cinematográfica de Manoel de Oliveira, conceituado cineasta, com enfoque na influência que esta obra recebeu do presencismo português, detectável, sobretudo, na relação que ela estabelece com outras artes e, dentre elas, especialmente com a literatura. Tendo vivido até os 106 anos de idade, Oliveira foi um dos poucos artistas que viram as transformações socioculturais pelas quais o mundo passou ao longo do século XX. Sua produção cinematográfica inicia-se em 1931, com Douro faina fluvial e avança pelos anos seguintes com filmes que variam entre curtas e longas-metragens. O momento inicial do cinema de Manoel de Oliveira coincide com o auge da revista presença em Portugal e a relação do cineasta com essa “Folha de Arte e Crítica” se estreita à medida que intensifica sua amizade com José Régio, um dos idealizadores do periódico. Régio apresenta ao jovem Oliveira as inovações estéticas propostas pela presença e a forma renovadora pela qual ela defendeu a divulgação do conceito de arte que denominou “Literatura Viva”. Assim, o movimento presencista e a estética que Manoel de Oliveira propõe desenvolver no cinema convergem para o mesmo propósito, especialmente no que concerne às questões relacionadas à originalidade de uma obra autêntica: uma arte sincera e atemporal, que expressa a essência da alma humana e as suas relações com o contexto da vida moderna. Nossa proposta neste trabalho é fazer uma análise das obras de Manoel de Oliveira que, de alguma forma, relacionam-se com a revista modernista e, particularmente, com a produção artística de Régio, identificando os influxos que ambos exerceram sobre a produção cinematográfica do realizador. Para tanto, escolhemos revisitar os filmes oliveirianos que explicitamente relacionam-se com a revista e focalizamos uma análise pormenorizada dos aspectos presencistas na obra Benilde ou a virgem mãe, de 1975, adaptação da peça homônima escrita pelo autor vilacondense. Através desta rememoração de filmes de Manoel de Oliveira, buscamos identificar uma dimensão estética sensivelmente marcada pela inspiração advinda da proximidade entre o cineasta e os poetas e artistas que em torno da revista se reuniram, sobretudo José Régio.
This thesis proposes a study of the cinematographic production of Manoel de Oliveira, a renowned filmmaker, focusing on the influence that this work p received from the Portuguese presença, detectable, above all, in the relationship it establishes with other arts and, among them, especially with literature . Oliveira lived until 106 years of age and was one of the few artists who saw the socio-cultural transformations that the world went through during the 20th century. His cinematographic production began in 1931, with Douro, faina fluvial and progressed through the following years with films ranging between short and feature films. The initial moment of Manoel de Oliveira's cinema coincides with the peak of presença in Portugal and the filmmaker's relationship with this “Folha de Arte e Crítica” narrows as he intensifies his friendship with José Régio, one of the creators of the periodical. Régio introduces young Oliveira to the aesthetic innovations proposed by the presença magazine and the renewing way in which the avant-garde started to make art - in Portugal, but also in Europe and in the world. Therefore, the presença’s proposal and the aesthetics that Manoel de Oliveira proposes to develop in cinema converge for the same purpose, especially with regard to issues related to the originality of an authentic work: a sincere and timeless art, which expresses the essence of the human soul and its relations with the context of modern life.. Our proposal in this work is to make an analysis of the works of Manoel de Oliveira that, in some way, are related to the modernist magazine and, particularly, to the artistic production of Régio, identifying the influences that both had on the director's cinematographic production. For that, we chose to revisit the Oliveira’s films that explicitly relate to the magazine and focus on a detailed analysis of the aspects present in the work Benilde ou a virgem mãe, from 1975, adaptation of the homonymous play written by the Vilacondense author. Through this reminiscence of Manoel de Oliveira's films, we seek to identify an aesthetic dimension markedly marked by the inspiration arising from the proximity between the filmmaker and the poets who gathered around the magazine, particularly José Régio.
This thesis proposes a study of the cinematographic production of Manoel de Oliveira, a renowned filmmaker, focusing on the influence that this work p received from the Portuguese presença, detectable, above all, in the relationship it establishes with other arts and, among them, especially with literature . Oliveira lived until 106 years of age and was one of the few artists who saw the socio-cultural transformations that the world went through during the 20th century. His cinematographic production began in 1931, with Douro, faina fluvial and progressed through the following years with films ranging between short and feature films. The initial moment of Manoel de Oliveira's cinema coincides with the peak of presença in Portugal and the filmmaker's relationship with this “Folha de Arte e Crítica” narrows as he intensifies his friendship with José Régio, one of the creators of the periodical. Régio introduces young Oliveira to the aesthetic innovations proposed by the presença magazine and the renewing way in which the avant-garde started to make art - in Portugal, but also in Europe and in the world. Therefore, the presença’s proposal and the aesthetics that Manoel de Oliveira proposes to develop in cinema converge for the same purpose, especially with regard to issues related to the originality of an authentic work: a sincere and timeless art, which expresses the essence of the human soul and its relations with the context of modern life.. Our proposal in this work is to make an analysis of the works of Manoel de Oliveira that, in some way, are related to the modernist magazine and, particularly, to the artistic production of Régio, identifying the influences that both had on the director's cinematographic production. For that, we chose to revisit the Oliveira’s films that explicitly relate to the magazine and focus on a detailed analysis of the aspects present in the work Benilde ou a virgem mãe, from 1975, adaptation of the homonymous play written by the Vilacondense author. Through this reminiscence of Manoel de Oliveira's films, we seek to identify an aesthetic dimension markedly marked by the inspiration arising from the proximity between the filmmaker and the poets who gathered around the magazine, particularly José Régio.
Descrição
Palavras-chave
Literatura, Cinema e literatura, Manoel de Oliveira, José Régio, Benilde ou a virgem mãe, Revista Presença, Cinema e literature, Benilde or the virgen mother, Cinema português