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O Personagem Cinematográfico Entre O Narrativo E O Sensorial

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O Personagem Cinematográfico Entre O Narrativo E O Sensorial UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES JOÃO VITOR RESENDE LEAL Pessoa, figura, presença: o personagem cinematográfico entre o narrativo e o sensorial São Paulo 2019 JOÃO VITOR RESENDE LEAL Pessoa, figura, presença: o personagem cinematográfico entre o narrativo e o sensorial Versão corrigiDa (versão original Disponível na biblioteca Da ECA/USP) Tese apresentaDa à Escola De Comunicações e Artes Da UniversiDaDe De São Paulo para obtenção De título De Doutor pelo Programa De Pós-GraDuação em Meios e Processos Audiovisuais. Área De concentração: Meios e Processos AuDiovisuais. OrientaDor: Prof. Dr. Cristian Da Silva Borges São Paulo 2019 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 Escola de Comunicações e Artes da Universidade de São Paulo Dados inseridos pelo(a) autor(a) ______________________________________________________________________________ Leal, João Vitor Resende Pessoa, figura, presença: o personagem cinematográfico entre o narrativo e o sensorial / João Vitor Resende Leal ; orientador, Cristian da Silva Borges. -- São Paulo, 2019. 339 p.: il. Tese (Doutorado) - Programa de Pós-Graduação em Meios e Processos Audiovisuais - Escola de Comunicações e Artes / Universidade de São Paulo. Bibliografia Versão corrigida 1. Personagem cinematográfico 2. Narrativa cinematográfica 3. Sensorialidade 4. Figura 5. Presença I. Borges, Cristian da Silva II. Título. CDD 21.ed. - 791.43 ______________________________________________________________________________ Elaborado por Sarah Lorenzon Ferreira - CRB-8/6888 FOLHA DE APROVAÇÃO João Vitor ResenDe Leal Pessoa, figura, presença: o personagem cinematográfico entre o narrativo e o sensorial Tese apresentaDa à Escola De Comunicações e Artes da Universidade de São Paulo para obtenção do título de Doutor pelo Programa de Pós-GraDuação em Meios e Processos AuDiovisuais. AprovaDo em: Banca examinaDora Prof. Dr. _______________________________________________________________________________________________ Instituição _____________________________________________ Assinatura _________________________________ Prof. Dr. _______________________________________________________________________________________________ Instituição _____________________________________________ Assinatura _________________________________ Prof. Dr. _______________________________________________________________________________________________ Instituição _____________________________________________ Assinatura _________________________________ Prof. Dr. _______________________________________________________________________________________________ Instituição _____________________________________________ Assinatura _________________________________ Prof. Dr. _______________________________________________________________________________________________ Instituição _____________________________________________ Assinatura _________________________________ RESUMO LEAL, J. V. R. Pessoa, figura, presença: o personagem cinematográfico entre o narrativo e o sensorial. 2019. 337p. Tese (Doutorado) – Escola De Comunicações e Artes, UniversiDaDe De São Paulo, São Paulo, 2019. Esta pesquisa pretenDe examinar as articulações e tensões entre o narrativo e o sensorial no cinema, trazenDo como fio conDutor, entre as convenções Do narrativo e a imeDiaticiDaDe Do sensorial, o personagem cinematográfico. EntenDemos que, sem abanDonar as conDições narrativas e representacionais que o proDuzem e Definem (personagem-pessoa), o personagem De cinema é também um importante catalisaDor de afetos que agenciam memória e imaginação (personagem-figura) e, De moDo mais substancial, um efeito proDuziDo a partir De elementos concretos que se manifestam em termos De performativiDaDe e De plasticiDaDe (personagem-presença). Dessa forma, investinDo numa reformulação Da noção De personagem como “efeito De personagem” e exploranDo Disjunções possíveis entre corpo, ator e personagem (sobretuDo em filmes nos quais vários atores Desempenham o mesmo papel ou, ao contrário, um mesmo ator Desempenha Diversos papéis), buscaremos fazer Do personagem um instrumento privilegiaDo para a análise Da complementarieDaDe e Dos eventuais atritos entre as Dimensões narrativa (significação/interpretação), figural (sensação) e material (percepção) Do cinema. Palavras-chave Personagem cinematográfico; narrativa cinematográfica; sensorialiDaDe; figura; presença. ABSTRACT LEAL, J. V. R. Person, figure, presence: the film character between the narrative and the sensorial. 2019. 337p. Thesis (PhD) – Escola De Comunicações e Artes, Universidade de São Paulo, São Paulo, 2019. This research intends to investigate the tensions and articulations between the narrative anD the sensorial in the cinema, having the film character as a guiDing threaD caught amongst the conventions of the narrative anD the immeDiacy of the sensorial. We will argue that the film character is not only DefineD anD conDitioneD by its narrative anD representational implications (character-person), it is also an important catalyst of affects that stimulate our memory anD imagination (character- figure), anD more substantially, an effect generateD by concrete elements that often manifest themselves in terms of performativity anD plasticity (character-presence). By reformulating the notion of character as “character effect” anD exploring possible Disjunctions between boDy, actor, anD character (especially in films in which several actors play the same role, or on the contrary, the same actor plays several roles), we will aDvance the character as a privilegeD instrument for the analysis of the frictions anD the complementarity of the narrative (signification/interpretation), the figural (sensation), anD the material (perception) Dimensions of the cinema. Keywords Film character; film narrative; sensoriality; figure; presence. AGRADECIMENTOS À FunDação De Amparo à Pesquisa Do EstaDo De São Paulo – FAPESP, pelas bolsas de DoutoraDo (nº2015/06711-1) e de Estágio de Pesquisa no Exterior (nº2017/11616-3) que possibilitaram o pleno Desenvolvimento Do trabalho. Ao Conselho Nacional De Desenvolvimento Científico e Tecnológico – CNPq, cuja bolsa de DoutoraDo viabilizou os meses iniciais Da pesquisa. Ao Prof. Dr. Cristian Da Silva Borges, pela orientação generosa e compromissaDa, a abertura ao Diálogo e a confiança na pesquisa. Aos Profs. Drs. André Gaudreault e André Habib, pelo acolhiDa no laboratório CinéMédias e o acompanhamento Da pesquisa na Université De Montréal. Aos Profs. Drs. Cecília Antakly De Mello e PeDro Maciel Guimarães, pela leitura atenta e as preciosas contribuições no exame De qualificação. Aos amigos De toDas as trocas sem as quais este trabalho não teria siDo possível. Na UniversiDaDe De São Paulo, a AlexanDre Wahrhaftig, Calac Nogueira, EDson Da Costa Júnior, Livia Lima, Lucas Baptista, Maria Chiaretti, Pedro Faissol, Sabrina Greve, Tainah Negreiros e Taís NarDi; na Université De Montréal, a Charlotte Dronier, Éric Prince, Gabriella MachaDo, Justine Chevarie-Cossette, Marco Diniz, Marie-Ève Hamel e Rémy Besson; e, nos Demais cantos Da viDa, a Alan Albuquerque, Carolina Gehlen, Gabriel Fernandes, João R. Zanetti, Luísa Dalcin, Marina Galvanese, Maythê Coelho, Milla Kleinsorge e Tatiana Germano. Aos filmes e à Mariana Souto, pela pipoca, um Dia De caDa vez. Aos meus pais, AlcebíaDes e Maria De LourDes, e à minha impossível irmã Ana Luiza, pelo apoio e entusiasmo De sempre. SUMÁRIO INTRODUÇÃO . 15 I – Reflexo: o personagem-pessoa . 27 1 – A noção De personagem . 29 1.1 - Nos molDes Da pessoa humana . 35 1.2 - Engrenagens narrativas . 40 1.3 - A perspectiva Da crise . 51 1.4 - Efeito De personagem . 60 2 – Esse obscuro objeto . 69 2.1 - A mulher e o fantoche . 74 2.2 - O jogo Dos atores . 86 2.3 - Papéis múltiplos . 95 2.4 - Identificação, catarse . 102 II – Sombra: o personagem-figura . 117 3 – A via Da figura . 119 3.1 - “Aconteceu alguma coisa” . 124 3.2 - Do anti-personagem à figura . 129 3.3 - As imeDiações Da sombra . 135 3.4 - A perspectiva figural . 146 4 – Uma estranha sensação . 159 4.1 - TraDuções figurais . 165 4.2 - O museu imaginário . 179 4.3 - Rebecca . 186 4.4 - Invasores De corpos . 195 III – Carne: o personagem-presença . 207 5 – As entranhas Do personagem . 209 5.1 - Uma Distância amorosa . 219 5.2 - Motores sagraDos . 226 5.3 - “No silêncio Da inteligência” . 234 5.4 - Performance e presença . 242 6 – O olho atônito . 261 6.1 - Músculos lisos na espessura Da água . 268 6.2 - Robin Wright (Robin Wright) . 277 6.3 - Monstros De luz . 288 6.4 - O Devir Do fogo . 294 CONSIDERAÇÕES FINAIS . 305 REFERÊNCIAS BIBLIOGRÁFICAS . 313 A fim De tornar o texto mais ágil e evitar a proliferação de notas de rodapé, optou-se por trazer as citações De textos originalmente publicaDos em língua estrangeira apenas na sua traDução para o português. No caso De textos inDisponíveis em português, a tradução foi feita pelo próprio autor, podendo a fonte original ser consultada a partir das Referências bibliográficas. Para valorizar o contexto das obras referenciadas no trabalho, optou-se por indicar Diretamente no corpo Do texto, sempre que possível e entre colchetes junto à Data Da edição consultada, sua data original de publicação. INTRODUÇÃO Nos meses De outubro e novembro De 1961, um seminário interDisciplinar realizaDo na UniversiDaDe De São Paulo aborDou o personagem como uma noção que, apesar
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