Diálogo Entre As Linguagens Literária E Fílmica

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Diálogo Entre As Linguagens Literária E Fílmica UNIVERSIDADE DE PASSO FUNDO 0 Instituto de Filosofia e Ciências Humanas PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS – MESTRADO EM LETRAS Campus I – Prédio B3, sala 106 – Bairro São José – Cep. 99001-970 - Passo Fundo/RS Fone (54) 316-8341 – Fax (54) 316-8125 – E-mail: [email protected] Daiane Casagrande Spuldaro PALAVRA E IMAGEM: DIÁLOGO ENTRE AS LINGUAGENS LITERÁRIA E FÍLMICA Passo Fundo 2009 1 Daiane Casagrande Spuldaro PALAVRA E IMAGEM: DIÁLOGO ENTRE AS LINGUAGENS LITERÁRIA E FÍLMICA Dissertação apresentada ao Programa de Pós- Graduação em Letras, do Instituto de Filosofia e Ciências Humanas da Universidade de Passo Fundo (RS), como requisito para obtenção do grau de Mestre em Letras, sob orientação da Prof. Dr. Tania Mariza Kuchenbecker Rösing. Passo Fundo 2009 2 Dedico este trabalho ao meu esposo Renato, companheiro de todas as horas, por acreditar e incentivar meu trabalho. 3 Agradeço à minha família pelo apoio e incentivo recebidos; aos voluntários que tornaram possível minha pesquisa: Carmem, Consuelo, Érsio, Giseli, Karen, Lariessa, Maria, Nádia, Nauria, Niméia, Sandra e Tito; ao Senai Santa Catarina, na pessoa do diretor da unidade de Concórdia (SC), Claudemir José Bonatto, pela aposta em meu trabalho; ao Memorial Attilio Fontana, na pessoa de Sandra Roman, que gentilmente cedeu seu espaço para a realização dos encontros; a Mateus Endler Rosa, secretário do Programa de Pós-Graduação em Letras, pela presteza sempre que solicitado; aos professores do mestrado, pela oportunidade de compartilhamento e crescimento, em especial à professora Fabiane Verardi Burlamaque, pelo exemplo de generosidade e humildade; à professora Tania Rösing, minha orientadora, que, incansável na sua luta por um mundo melhor, ajudou- me a trilhar o caminho. 4 Cinema e literatura não são apenas estas coisas concretas que efetivamente temos diante dos olhos. São a estrutura que organiza o imediatamente visível e também o que se constrói no imaginário estimulado pelo que se movimenta na imagem e na palavra e ao mesmo tempo pelo como se movimenta imagem e palavra. José Carlos Avellar 5 RESUMO As razões que levaram à realização deste estudo surgiram do interesse e da necessidade de investigar algumas experiências relacionadas à adaptação do literário para o cinematográfico, aproximações e/ou modificações da obra que originou a película, a partir das novas formulações culturais de comportamentos e pontos de vista de um mundo que está em constante mutação. Para o desenvolvimento desta pesquisa qualitativa descritiva, a qual considerou a participação dos sujeitos como um dos elementos do seu fazer científico, foi necessário um embasamento teórico direcionado às linguagens literárias e fílmica, à relação das obras com o leitor/espectador, à constituição das estruturas narrativas e aspectos de convergência e divergência entre essas duas manifestações artísticas. Na prática, foi formado um grupo com voluntários com o objetivo de ler as obras literárias e, posteriormente, assistir à sua adaptação, para conduzir uma reflexão acerca das linguagens presente nas narrativas verbal e fílmica, pois tanto a literatura quanto o cinema têm os olhos do receptor como ponto de partida para a constituição de sua existência. As obras selecionadas foram: Desmundo, romance de Ana Miranda (1996), adaptado para o cinema em 2003, sob a direção de Alain Fresnot; O amor nos tempos do cólera, romance de Gabriel Garcia Márquez (1985), transposto para o cinema em 2007, por Mike Newell; e o poema “Caso do vestido”, de Carlos Drummond de Andrade (1945), adaptado em 2004 para o cinema, dirigido por Paulo Thiago. De forma distinta, as interpretações particulares de cada indivíduo ocorreram a partir da interação com o livro e com o filme, resultado de seu conhecimento prévio sobre o gênero, a forma e a temática das obras já conhecidas/lidas, e da oposição entre os dois suportes. As análises não se restringiram aos aspectos estéticos e estruturais das obras, pois na leitura e na interpretação também entraram em jogo as experiências pessoais, porque entre a recepção de uma obra e o efeito pretendido, ocorre o processo da compreensão, exigindo do leitor todo o seu conhecimento acumulado. Palavras-chave: Adaptações. Cinema. Linguagem. Literatura. Narrativa. 6 ABSTRACT The reasons that took to the accomplishment of this study appeared of the interest and of the need to investigate some experiences related to the adaptation of the literary for the cinematographic, approaches and/or modifications of the book that originated the film, starting from the new cultural formulations of behaviors and point of view of a world that it is in constant mutation. For the development of this descriptive qualitative research, which considered the participation of the people as one of the elements of yours to do scientific, it was necessary a theoretical research addressed to the literary language and filmic language, to the relationship of the works with the reader/viewer, to the constitution of the narrative structures and convergence aspects and divergence among those two artistic manifestations. In the practice, a group was formed with volunteers with the objective of reading the literary works and, subsequently, watch its adaptation, for orientate a reflection concerning the languages present in the verbal and filmic narratives, because so much the literature as the movies have the eyes of the receiver as starting point for the constitution of its existence. The selected works were: Desmundo, romance of Ana Miranda (1996), adapted for the movies in 2003, for Alain Fresnot; O amor nos tempos do cólera, romance of Gabriel Garcia Márquez (1985), transposed for the movies in 2007, by Mike Newell; and the poem "Caso do vestido", of Carlos Drummond de Andrade (1945), adapted in 2004 for the movies, by Paulo Thiago. In a different way, the personal interpretations of each individual happened starting from the interaction with the book and with the film, result of its previous knowledge about gender, the form and the thematic of the works already know/read, and of the opposition among the two supports. The analyses didn't limit to the aesthetic aspects and you structure of the works, because in the reading and in the interpretation also entered in angle the personal experiences, because among the reception of a work and the intended effect, it happens the process of the understanding, demanding all accumulated knowledge from the reader. Key-words: Adaptations. Movies. Language. Literature. Narrative. 7 SUMÁRIO INTRODUÇÃO ...................................................................................................................... 08 1 O USO DA LINGUAGEM COM FINALIDADE ESTÉTICA ........................................... 13 1.1 A constituição da literatura como linguagem artística: perspectiva diacrônica ................ 20 1.2 O cinema como linguagem imagética em movimento ...................................................... 28 1.3 A relação do leitor/receptor com as linguagens literária e fílmica .................................... 36 2 LITERATURA E CINEMA ................................................................................................ 40 2.1 Narrativa literária .............................................................................................................. 40 2.2 Narrativa fílmica ............................................................................................................... 47 2.3 Adaptações de obras literárias para o cinema: possíveis relações e influências de uma linguagem sobre a outra .......................................................................................................... 55 3 METODOLOGIA DA PESQUISA..................................................................................... 62 3.1 Processo investigativo ....................................................................................................... 62 4 ANÁLISE DO OBJETO DE INVESTIGAÇÃO ................................................................. 70 4.1 “Caso do vestido”: por trás da renda, um segredo ............................................................ 70 4.2 Desmundo: uma história das mentalidades ....................................................................... 82 4.3 O amor nos tempos do cólera: um tratado de amor de meio século ................................. 96 CONSIDERAÇÕES FINAIS ............................................................................................... 108 REFERÊNCIAS .................................................................................................................... 114 8 INTRODUÇÃO As relações entre o cinema e a literatura são tão fortes que alguns estudiosos chegam a afirmar a sua existência antes mesmo do surgimento do cinema. Para isso evocam uma teoria limite, segundo a qual há uma essência do cinema, de um “pré-cinema” embutido em alguns textos literários “anteriores à forma de expressão cinematográfica, e que teriam como especificidade o fato de os escritores ordenarem o relato em função da incidência do olhar do narrador, da sua ocularização, da cena a narrar.”1 Desse modo, a narrativa cinematográfica já se encontrava latente em alguns textos narrativos literários e o surgimento do cinema no final do século XIX foi apenas a “descoberta da tecnologia que permitiu concretizar o modo narrativo que enfatiza a visualização perceptiva da imagem de uma cena”.2 No cinema há certo diálogo que se acentuou sobremaneira após a intermediação dos processos tecnológicos. Optando pela modalidade narrativa,
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