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O Cinema Bastardo De Quentin Tarantino

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O Cinema Bastardo De Quentin Tarantino Universidade Federal da Bahia Instituto de Letras Programa de Pós-graduação em Letras e Linguística Rua Barão de Jeremoabo, nº147 CEP: 40170-290. Campus Universitário – Ondina, Salvador - BA Telefone: (71) 3283-6256 E-mail: [email protected] http://www.ppgll.ufba.br CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO por ADRIANO ANUNCIAÇÃO OLIVEIRA Orientador: Prof. Dr. Décio Torres Cruz SALVADOR Universidade Federal da Bahia Instituto de Letras Programa de Pós-graduação em Letras e Linguística Rua Barão de Jeremoabo, nº147 CEP: 40170-290. Campus Universitário – Ondina, Salvador - BA Telefone: (71) 3283-6256 E-mail: [email protected] http://www.ppgll.ufba.br CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO por ADRIANO ANUNCIAÇÃO OLIVEIRA Orientador: Prof. Dr. Décio Torres Cruz Tese apresentada ao Programa de Pós- graduação em Letras e Linguística do Instituto de Letras da Universidade Federal da Bahia como requisito parcial para a obtenção do título de Doutor em Letras. SALVADOR SISTEMA DE BIBLIOTECAS DA UFBA Oliveira, Adriano Anunciação. Cópias em glória : o cinema bastardo de Quentin Tarantino / por Adriano Anunciação Oliveira. f.: il. Orientador: Prof. Dr. Décio Torres Cruz. Tese (doutorado) - Universidade Federal da Bahia, Instituto de Letras, Salvador, . Tarantino, Quentin, -. Diretores e produtores de cinema - Estados Unidos. Cinema - Estados Unidos. Intertextualidade. Autoria. Semiótica. Ideologia. I. Cruz, Décio Torres. II. Universidade Federal da Bahia. Instituto de Letras. III. Título. CDD - . CDU - . TERMO DE APROVAÇÃO ADRIANO ANUNCIAÇÃO OLIVEIRA CÓPIAS EM GLÓRIA: O CINEMA BASTARDO DE QUENTIN TARANTINO Tese aprovada como requisito parcial para obtenção do grau de Doutor em Letras, Universidade Federal da Bahia, pela seguinte banca examinadora: .............................................................................................................. Prof. Dr. Décio Torres Cruz .............................................................................................................. Profª. Drª. Licia Soares de Souza .............................................................................................................. Profª. Drª. Maria do Socorro Silva Carvalho .............................................................................................................. Profª. Drª. Cássia Lopes .............................................................................................................. Profª. Drª. Denise Carrascosa Salvador, de julho de para Gabriel, Cecília e Vládia, de novo e sempre AGRADECIMENTOS A Décio Torres Cruz, pela paciência e pela orientação. Aos meus colegas da UFRB, pelo apoio institucional e pessoal. A Gabriel Jucá Oliveira, pela inteligência e companheirismo cinéfilo. A Cecília Jucá Oliveira, pela astúcia e sensibilidade. A Vládia Jucá, pelo amor e inspiração. — Oh! So this isn’t real life? Entrevistador — No! is is a movie movie universe. Quentin Tarantino RESUMO O cineasta norte-americano Quentin Tarantino se destaca no cenário cinematográfico internacional desde os anos , sendo reconhecido por influenciar o imaginário e a produção cultural contemporânea. O presente trabalho buscou entender sua obra enquanto projeto criativo particular. Elegemos como corpus os filmes Reservoir Dogs (), Pulp Fiction (), Jackie Brown (), Kill Bill: Vol. (), Kill Bill: Vol. (), Death Proof (), Inglourious Basterds () e Django Unchained (), por serem, entre os trabalhos do cineasta, aqueles onde verificamos um maior controle do discurso fílmico, decorrente do exercício das funções de roteirista e diretor. Procedemos uma análise comparativa dessas realizações entre si e em relação a outros filmes, nos quais identificamos oportunidades de estabelecer contrastes. No percurso, evidenciamos e discutimos os seguintes aspectos sensíveis nesta filmografia: (i) um modo particular de expressão, identificável como estilo autoral, (ii) o emprego em alto grau da citação e do jogo intertextual e (iii) a ocorrência de enunciações críticas sobre o cinema e a cultura. Para atingir nossos objetivos, empregamos uma metodologia comparativa mediante abordagens formais derivadas da semiótica e dos estudos cinematográficos, bem como a crítica da ideologia, de matriz psicanalítica. Concluímos que o projeto criativo presente na obra de Tarantino é caracterizado pelo modo como seleciona elementos díspares, contrastantes e pouco usuais no mar da intertextualidade para apresentá-los segundo uma abordagem cinematográfica lúdica, que ao mesmo tempo evoca e desconstrói normas e convenções do meio audiovisual para estabelecer novos paradigmas de realização artística. PALAVRAS-CHAVE: Tarantino; Cinema; Intertextualidade; Autoria; Semiótica; Ideologia ABSTRACT American filmmaker Quentin Tarantino has been recognized in the international film scene since the s for influencing contemporaryimaginary and cultural production. is dissertation aims to understand his work as a particular creative project. As the main corpus for this study, we have selected the films Reservoir Dogs (), Pulp Fiction (), Jackie Brown (), Kill Bill: Vol (), Kill Bill: Vol (), Death Proof (), Inglourious Basterds () and Django Unchained (), since they are, among the filmmaker’s work, the ones in which we found greater control of film discourse, due to the exercise of screenwriting and directing. We conducted a comparative analysis of these movies among themselves and in relation to other films, in which we identified opportunities to establish contrasts. We highlighted and discussed the following aspects of this filmography: () a particular mode of expression, identifiable as authorial style, () employment in high degree of quotation and intertextual play, and () the occurrence of critical discourse on cinema and culture. To achieve our goals, we employed a comparative methodology derived from semiotics and film studies formal approaches, as well as the critique of ideology, from a psychoanalytic matrix. We conclude that Tarantino’s creative project is characterized by the way he selects disparate, contrasting and unusual elements from the sea of intertextuality to present them according to a playful cinematic approach that simultaneously evokes and deconstructs norms and conventions of the audiovisual medium to establish new paradigms of artistic achievement. KEY WORDS: Tarantino; Cinema; Intertextuality; Authorship; Semiotic; Ideology LISTA DE FIGURAS Figura : Cena inicial de Pulp Fiction, plano a plano. .................................................................. Figura : O ponto de vista do “terceiro não incluído”. ................................................................ Figura : Plano sobre os ombros com foco na nuca de um dos interlocutores. ..................... Figura : Elementos excessivos promovem o distanciamento do expectador. ....................... Figura : O elemento excessivo desmobiliza o excesso de violência. ....................................... Figura : Influência de Lady Snowblood () sobre Kill Bill Vol. ....................................... Figura : O figurino da Noiva faz referência ao filme de Bruce Lee ......................................... Figura : Reversão das relações de poder. .................................................................................... Figura : Django se torna herói aos olhos de um escravo. ........................................................ Figura : Lincoln se torna herói aos olhos de seu mordomo. ................................................. Figura : Vítimas e heróis. ............................................................................................................. Figura : Diálogo entre Perrier LaPadite e Hans Landa........................................................... Figura : A família Drayfus é fuzilada sob o assoalho da casa de LaPadite. ......................... SUMÁRIO INTRODUÇÃO .......................................................................................................................... O ESTILO É O PRÓPRIO CINEASTA ................................................................................. . A narração e o estilo hollywoodiano .............................................................................. .. A narração cinematográfica ................................................................................... .. O estilo clássico hollywoodiano ............................................................................ . A carne do cinema de Tarantino ..................................................................................... .. Um estilo permeado de excessos .......................................................................... .. Jogando com violência ............................................................................................ .. Trilha sonora e choque de referências ................................................................. O LABIRINTO DAS REFERÊNCIAS .................................................................................... . Tarantino, autor de hipertextos ....................................................................................... .. Um cinema sobre o cinema .................................................................................... .. Filmes palimpsestos ................................................................................................. . A Poética da Intertextulidade .......................................................................................... .. Qual pós-modernidade?
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