Universidade De São Paulo Faculdade De Educação

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Universidade De São Paulo Faculdade De Educação 0 UNIVERSIDADE DE SÃO PAULO FACULDADE DE EDUCAÇÃO FABIANA TAVOLARO MAIORINO O Contemporâneo através do Cinema: o olhar distópico, o ilusório e o trágico São Paulo 2018 1 FABIANA TAVOLARO MAIORINO O Contemporâneo através do Cinema: o olhar distópico, o ilusório e o trágico Tese apresentada à Faculdade de Educação da Universidade de São Paulo para obtenção do título de Doutora em Educação. Orientador: Prof. Dr. Rogério de Almeida São Paulo 2018 2 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL OU PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Educação da Universidade de São Paulo 778.5 Maiorino, Fabiana Tavolaro M227c O contemporâneo através do cinema: o olhar distópico, o ilusório e o trágico / Fabiana Tavolaro Maiorino; orientação Rogério de Almeida. São Paulo: s.n., 2018. 235 p. Tese (Doutorado – Programa de Pós-Graduação em Educação. Área de Concentração: Cultura, Organização e Educação) - - Faculdade de Educação da Universidade de São Paulo. 1. Contemporâneo 2. Cinema 3. Filosofia 4. Hermenêutica 5. Cartografia I. Almeida, Rogério de, orient. Elaborado por Nicolly Leite – CRB-8/8204 3 FOLHA DE AVALIAÇÃO NOME : MAIORINO, Fabiana T. TÍTULO: O Contemporâneo através do Cinema: o olhar distópico, o ilusório e o trágico. Tese apresentada à Faculdade de Educação da Universidade de São Paulo para obtenção do título de Doutorado em Educação. APROVADO EM : BANCA EXAMINADORA Prof. Dr:____________________________________________________________ Instituição:__________________________________________________________ Julgamento _________________________________________________________ Prof. Dr:____________________________________________________________ Instituição:__________________________________________________________ Julgamento _________________________________________________________ Prof. Dr:____________________________________________________________ Instituição:__________________________________________________________ Julgamento _________________________________________________________ Prof. Dr:____________________________________________________________ Instituição:__________________________________________________________ Julgamento _________________________________________________________ Prof. Dr:____________________________________________________________ Instituição:__________________________________________________________ Julgamento ________________________________________________________ 4 AGRADECIMENTOS Dedico essa tese ao meu ninho e meu amor ventania, minha Marina TOL, por ter me doado tempo, afeto e fé e partilhado da rota da vida nos últimos e essenciais anos de construção dessa tese. Seu amor me reconstruiu. Dedico ainda, essa tese a minha mãe Selma Neves Tavolaro, já falecida mas presente, ao meu pai, o meu velho professor (quase) italiano, o Dr. Maiorino, aos meus queridos familiares, meus irmãos Luciano e Adriana, meu cunhado-irmão Richard Wacker, meu sobrinho amado Gustavo, ao meu filhote cão, o inquieto Nietzsche ( que carrega minha paixão trágica pelo filósofo que me inspira) enfim, todos os que me acolheram pelo vínculo de sangue e pelo amor, por estarem muito presentes no sonho do projeto e da realização do meu doutoramento. Dedico, por fim, aos meus interlocutores essenciais, os meus alunos-parceiros do curso de Psicologia da Universidade Paulista, a quem destino meu credo docente, minha fé na humanidade e meu afeto sincero. Agradeço imensamente ao meu orientador/mestre Rogério de Almeida, por ter me dado crédito e afeto por todo esse percurso, me inspirando com suas conversas intrigantes por meio de suas análises fílmicas e trágicas, nas suas aulas sobre Machado de Assis, o trágico, sobre Nietzsche e Rosset, nas noites longas e inestimáveis da FEUSP, enfim, por termos construído uma parceria singular! Agradeço a minha cunhada adorada e revisora técnica Paula Toledo, por ter se dedicado com tanto cuidado e graciosidade nas suas leituras, na empatia e afeto doados por ela, em todos esses meses.... Agradeço ainda, aos parceiros de alma, aos amigos, novos e antigos, Kátia Hammer, Simone Camillo, Claudia Câmara, Lau Toledo, Idael Almeida, por terem me dado ânimo e fé em momentos críticos, quando o cotidiano e as demandas da Vida nos assombram...Vocês me ensinaram a resistir. Enfim Agradeço e dedico essa tese, a todos que me doaram seu tempo, suas alegrias e tristezas, que puderam comigo escrever uma tese sobre tema tão complexo, como é o contemporâneo por meio da sétima arte, numa mescla trágica e adorável, entre arte e ciência. Sonhos não envelhecem..... 5 RESUMO MAIORINO, F. T. O contemporâneo através do cinema: o olhar distópico, o ilusório e o trágico. 2018. 230f. Tese (Doutorado) – Faculdade de Educação, Universidade de São Paulo, 2018. O objetivo desta tese é investigar de que modo o Contemporâneo fala através da arte cinematográfica, ou seja, pergunta-se, na dobra do tempo do agora, sobre o que há para ser visto e afirmado na vida contemporânea através do cinema. Essa pesquisa utilizou-se dos pressuspostos teóricos-epistêmicos do aporte existencial e trágico, com obras de Nietzsche, Clément Rosset, Rogério de Almeida, Beccari e Oliveira. Para mapear os modos como o contemporâneo tem sido evocado pelo cinema, usou-se a metodologia qualitativa de inspiração deleuziana, da cartografia e mapeamentos em platôs estéticos-discursivos. Foram delineados três a partir de uma vasta revisão fílmica operada principalmente nos últimos dez anos (2008-2017): (1) platô distópico, analisado por meio do filme Holy Motors (2012); (2) platô ilusório, trazido pelo filme O Duplo (2013) e (3) platô trágico, iluminado pela obra A Grande Beleza (2013). A partir de uma descrição fílmica cuidadosa e pela ótica da hermenêutica trágica, inspirada na obra de Beccari, constatou-se que o cinema tem mostrado o Contemporâneo por diversas matizes e forças, o que reverbera no modo de se pensar o homem e seus modos plurivocais de vida no mundo atual, seja no horizonte educacional ou quaisquer outros. Palavras-chave: Contemporâneo, cinema, filosofia trágica, hermenêutica trágica, cartografia. ABSTRACT This thesis aims to investigate how the Contemporary speaks through cinematographic art, that is, it is questioned in the present about what is to be seen and affirmed in contemporary life through the cinema. This research made use of the theoretical and epistemic presuppositions of tragic thinking, with works by Nietzsche, Clément Rosset, Rogério de Almeida, Beccari and Oliveira. In order to evaluate the ways in which the contemporary has been evoked by the cinema, the methodology used was qualitative of Deleuze inspiration, cartography and mappings in aesthetic and discursive plateaus. Three films were drawn from a broad film review mainly carried out over the last ten years (2008-2017): (1) dystopic plateau, analyzed through the Holy Motors film (2012); (2) illusory plateau, studied by the film The Double (2013) and (3) tragic plateau, through the analysis of the work The Great Beauty (2013). From a careful film description and from the perspective of tragic hermeneutics, inspired by Beccari's work, it has been observed that cinema has shown the Contemporary by various shades and forces, which has repercussions on the way one thinks about man and his manners plurivocals of life in the world today. Keywords: Contemporary, cinema, tragic philosophy, tragic hermeneutics, cartography. 6 Sumário Introdução 7 Capítulo 1: Cartografias Cinematográficas: paragens e 19 paisagens possíveis ( 20) 1.1 Cartografia Conceitual Formativa sobre o Cinema 21 1.2 Cartografias dos Estudos Fílmicos nas Ciências Humanas e no campo da Filosofia 27 1.3 Cartografia Estético Discursiva do Cinema contemporâneo 35 Capítulo 2: Paisagens Intempestivas do Contemporâneo 40 2.1 Contemporâneo como pós-moderno: o fim e o novo 50 2.2 Contemporâneo como híbrido entre modernidade tardia e pós-moderno 58 Capítulo 3: Platô Distópico 68 3.1 Descrição Fílmica de Holy Motors 79 3.2 Holy Motors e as múltiplas trilhas de uma leitura hermenêutica 84 3.3 Intertextualidade disfórica no cinema contemporâneo 99 Capítulo 4: Platô Ilusório 105 4.1 O platô Ilusório no cinema contemporâneo 122 4.2 Descrição Fílmica do O Duplo 123 4.3 O Duplo e as múltiplas trilhas de uma leitura hermenêutica 4.4 Intertextualidade Fílmica do Ilusório no cinema contemporâneo 132 136 Capítulo 5: Platô Trágico 147 5.1 Descrição Fílmica do A Grande Beleza 5.2 A Grande Beleza e as múltiplas trilhas de uma leitura hermenêutica 163 5.3 A intertextualidade fílmica do trágico no cinema contemporâneo 174 183 Considerações Finais 209 Referências Bibliográficas 215 Referências Fílmicas 228 7 INTRODUÇAO “No que me diz respeito, só admito um cinema que esteja o mais próximo da vida- ainda que, em certos momentos, sejamos incapazes de ver o quanto a vida é realmente bela.” (TARKOVSKI, 2010 p. 20) Essa tese de doutoramento possui, como disparadores temáticos, o interesse acadêmico e estético pelo cinema e por uma compreensão do contemporâneo, que tem atravessado a jornada existencial e profissional desta pesquisadora, com formação em psicologia em interface com o campo educacional. Diante de um cinema plural e a vida acadêmico-universitária ativa, algumas questões existenciais foram mobilizadas, tais como: os filmes poderiam nos transformar como humanos? Os filmes poderiam oferecer um lugar possível de ressignificação do que é ser docente-discente? Porém, ao me aproximar
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