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Aspectos Do Cinema De Fernando Coni Campos E Imagens Polissêmicas Do Riso Na Obra O Mágico E O Delegado

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Aspectos Do Cinema De Fernando Coni Campos E Imagens Polissêmicas Do Riso Na Obra O Mágico E O Delegado UNIVERSIDADE ESTADUAL DE FEIRA DE SANTANA DEPARTAMENTO DE LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS LITERÁRIOS JUCIANE DOS REIS SANTANA ASPECTOS DO CINEMA DE FERNANDO CONI CAMPOS E IMAGENS POLISSÊMICAS DO RISO NA OBRA O MÁGICO E O DELEGADO Feira de Santana 2017 JUCIANE DOS REIS SANTANA ASPECTOS DO CINEMA DE FERNANDO CONI CAMPOS E IMAGENS POLISSÊMICAS DO RISO NA OBRA O MÁGICO E O DELEGADO Dissertação apresentada ao Programa de Pós-Graduação em Estudos Literários, da Universidade Estadual de Feira de Santana como requisito parcial para obtenção do título de Mestre em Estudos Literários. Orientador: Prof. Dr. Claudio Cledson Novaes. Feira de Santana 2017 Ficha Catalográfica - Biblioteca Central Julieta Carteado - UEFS S223 Santana, Juciane dos Reis Aspectos do cinema de Fernando Coni Campos e imagens polissêmicas do riso na obra O mágico e o delegado / Juciane dos Reis Santana. – 2017. 174 f. : il. Orientador : Claudio Cledson Novaes. Dissertação (mestrado) – Universidade Estadual de Feira de Santana, Programa de Pós-Graduação em Estudos Literários, 2017. 1. O mágico e o delegado (1983). 2. Cinema - Identidade. 3. Polissemia. 4. Campos, Fernando Coni. I. Novaes, Claudio Cledson, orient. II. Universidade Estadual de Feira de Santana. III. Título. CDU: 801:791.43(814.2) BANCA EXAMINADORA A dissertação “ASPECTOS DO CINEMA DE FERNANDO CONI CAMPOS E IMAGENS POLISSÊMICAS DO RISO NA OBRA O MÁGICO E O DELEGADO”, apresentada por Juciane dos Reis Santana ao Programa de Pós-Graduação em Estudos Literários (PROGEL) da Universidade Estadual de Feira de Santana (UEFS), foi aprovada e aceita como requisito para obtenção do título de Mestre em Estudos Literários. Aprovada em: ____/____/2017. _______________________________________________________ Prof. Dr. Claudio Cledson Novaes Orientador (UEFS) _______________________________________________________ Prof. Dr. Alberto da Silva (PARIS IV) _______________________________________________________ Prof. Dr. Marcos Botelho de Souza (UNEB) À minha família, pelo apoio incondicional; ao meu marido, pelo companheirismo e cuidado; ao Prof. Dr. Claudio Cledson Novaes, pelos direcionamentos, auxílio e paciência; e a Fernando Coni Campos (in memoriam). AGRADECIMENTOS Aos familiares e amigos pelo apoio e incentivo no tocante a realização deste trabalho. Ao meu marido pelo companheirismo, estímulo, cuidado e amizade em todas as horas. À Universidade Estadual de Feira de Santana pela propiciação de um espaço enriquecedor, acolhedor e instrutivo. Ao orientador Prof. Claudio Cledson Novaes, pelo acompanhamento assíduo, detalhista e atencioso em cada parte desta pesquisa. Pela enorme paciência, alteridade e empatia. Aos docentes do Programa de Pós-Graduação em Estudos Literários – PROGEL pelos dois anos mais prósperos de meu caminho acadêmico. Aos colegas de turma pela afeição e interatividade demonstradas no decorrer dos anos. À professora Andréia Araújo pela amizade, amabilidade, orientação e reflexão no tocante aos saberes necessários para a minha formação social, profissional, humana e científica desde a graduação até o presente momento. A todos os professores da Universidade Estadual de Feira de Santana que contribuíram direta ou indiretamente na minha formação como docente de Letras com Língua Francesa e suas respectivas literaturas e futura mestra em Estudos Literários. “Tua palavra severa ganhou porte de hieróglifo e o sentido que já teve esse agora se me evade. Às vezes debruço em noite consulto dicionários releio velhos poetas busco o sentido perdido da palavra que resta fria estendida em minha frente exigindo que a invenção assuma reinventando o que a memória perdeu” (Fernando Coni Campos) RESUMO O presente trabalho se propõe a analisar aspectos do cinema de Fernando Coni Campos, e as imagens polissêmicas do riso contidas no longa-metragem O Mágico e o Delegado (1983) a fim de trabalhar: os sentidos de polissemia e do campo semiótico no tocante à imagem audiovisual; a exploração do imaginário de identidade local e a inferência dos diálogos presentes na obra com referências literárias, populares, políticas, econômicas, sociais e históricas; os fundamentos históricos e originários da comicidade brasileira e da arte do circo, bem como do primeiro cinema e do cinema nacional; o cânone cinematográfico. Esses e outros objetivos caracterizam-se na pesquisa exploratória, a qual visa proporcionar familiaridade com o problema, e da pesquisa bibliográfica, documental e fílmica, de leitura corrente e de referência audiovisual. Isto posto, o presente trabalho pretende discutir as questões pertinentes a problemática da “ausência em presença” no cânone cinematográfico e nuances da ideia de Bahia contidas no filme elencado. Palavras-chave: O Mágico e o Delegado; Identidade; Cinema; Polissemia. ABSTRACT The present work proposes to analyze aspects of the cinema of Fernando Coni Campos, and the polysemic images of laughter contained in the feature film O Mágico e o Delegado (1983) in order to work: the meanings of polysemy and the semiotic field Audiovisual image; The exploration of the local identity imaginary and the inference of the dialogues present in the work with literary, popular, political, economic, social and historical references; The historical and original foundations of Brazilian comedy and circus art, as well as the first cinema and national cinema; The cinematographic canon. These and other objectives are characterized in the exploratory research, which aims to provide familiarity with the problem, and bibliographical research, documentary and film, reading and audiovisual reference. Therefore, the present work intends to discuss the pertinent issues of the "absence in presence" problem in the cinematographic canon and nuances of the idea of Bahia contained in the movie. Keywords: O Mágico e o Delegado; Identity; Cinema; Polysemic. SUMÁRIO INTRODUÇÃO ...................................................................................................................... 10 1 FERNANDO CONI CAMPOS: “CADA UM SONHA COMO VIVE”..........................12 1.1 “VER COM OLHOS LIVRES”......................... 24 1.2 TEORIA, PRÁTICA E RECEPÇÃO.................. 35 1.3 O CINEPOESIA.................................................. 59 2 CIRCO, ILUSIONISMO E CINEMA: ASPECTOS HISTÓRICOS EM DIÁLOGOS IMAGINÁRIOS......................................................................................................................77 3 O MÁGICO E O DELEGADO: DA FÁBULA AO FILME........................................... 105 3.1 O MÁGICO E O DELEGADO: A NARRATIVA................................................113 CONSIDERAÇÕES FINAIS...............................................................................................170 REFERÊNCIAS....................................................................................................................172 10 INTRODUÇÃO A presente pesquisa surgiu no primeiro ano de pós-graduação em Estudos Literários a nível de Mestrado, advinda das investigações nas áreas de literatura e cinema, principiadas no Trabalho de Conclusão de Curso da Licenciatura em Letras com Língua Francesa, na Universidade Estadual de Feira de Santana. Buscando acrescentar à fortuna crítica do cineasta e dar maior ênfase às suas obras, além de aprofundar os estudos na inter-relação cinema- literatura, mantivemos os aspectos gerais da pesquisa monográfica, delimitando a questão identitária ao sentido de “ser baiano”, à ideia de Bahia nas fissuras do imaginário narrado no longa-metragem O Mágico e o Delegado (1983), dirigido por Fernando Coni Campos. Esta investigação justifica-se na tentativa de analisar os elementos éticos, culturais, políticos e estéticos do Cinema Brasileiro entre os anos 60-80, permeados pelo discurso cinematográfico do Cinema Novo e do Cinema Marginal, correlacionados ao processo criativo e de adaptação de Coni Campos em O Mágico e o Delegado (1983) em diálogo com a obra Depois do Último Trem (1973), de Josué Guimarães. Devido ao fato de O Mágico e o Delegado ter suas locações nos espaços do Recôncavo baiano, a saber: Cachoeira, Castro Alves e Nazaré das Farinhas, faz-se crucial inferir o imagético polissêmico da identidade de lugar no referido longa-metragem e sua ligação com as reminiscências de infância de Coni Campos, e como, a fortuna crítica deste escritor, poeta, roteirista e cineasta pouco estudado aparece problematizada por nossas observações científicas fundamentarem-se nas seguintes teorias: a crítica cinematográfica de (BAZIN, 2014), a identidade cultural baiana em (MARIANO, 2009), a psicologia analítica de (JUNG, 2008), a crítica literária de (CANDIDO, 1993), a crítica e análise circense de (CASTRO, 2005), os estudos culturais de (BAKTHIN, 1996), os estudos estruturalistas de (PROPP, 1992), as artes circenses pelo viés literário e histórico de (TORRES, 1998), a filosofia ensaística de (BERGSON, 1980), os diálogos entre literatura e cinema em (AVELLAR, 2007), os estudos simbólicos de (TODOROV, 1979), o cinema de prosa e poesia de (PASOLINI, 1986), a gênese e a filosofia das ciências segundo (FOUCAULT, 1995), a ironia em (HUTCHEON, 2000), entre outros teóricos que auxiliarão como pressupostos metodológicos essenciais à abordagem e análise das imagens implícitas e explícitas do riso como transgressor e empoderador no filme em estudo, bem como problematizar a produção cômica ligada aos processos mutacionais sócio-histórico-nacionais, ao percurso histórico- cultural da comicidade circense no Brasil, à figura do mágico, do circo, e a representação de 11 identidade
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