Intermidialidade Em Dogville

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Intermidialidade Em Dogville Rodrigo Gerace Natural de São Paulo/SP, graduado em Ciências Sociais pela Unesp e mestre em Artes Visuais pela UFMG, onde defendeu a dissertação O cinema de Lars von Trier: dogmatismo e subversão (2006); doutor em Artes, desenvolveu a tese Cinema Explícito: reprsentações cinematográficas do sexo, sob a orientação do Prof. Dr. Luiz Nazario. É professor de teoria e história do cinema, crítico e produtor cultural. Intermidialidade em Dogville RESUMO Investiga-se o conceito de intermidialidade1 na linguagem cinematográfica deDogville , filme do cineasta dinamarquês Lars von Trier, além das referências intertextuais na narrativa e na trama. Mostra-se como o uso de elementos midiáticos revela-se subversivo na forma e no conteúdo do filme. Nota-se que, apesar das referências cênicas conceituais (o efeito de distanciamento, o desnu- damento do palco, as encenações naturalistas, a narração), Dogville não é teatro filmado, pois a estilização cinematográfica confere à narrativa de Trier uma epistemologia intermidiática. 1 Este trabalho integrou O cinema de Lars Von Trier a monografia final da disciplina “Seminário Quando, numa segunda-feira de março de 1995, I: Intermidialidade entre as artes”, Lars von Trier concebeu, junto com o colega Tho- ministrada pelo Prof. mas Vinterberg, uma lista de dez regras pragmá- Dr. Claus Cluver, durante o segundo ticas que compunham o Voto de Castidade, tinha semestre de 2007, na a noção de que, para burlar regras, era preciso EBA/UFMG, além de criá-las. Assim, ao fundamentar as propostas ser parte adaptada de um dos capítulos para o movimento Dogma 95, ele pretendeu não da dissertação O apenas resgatar um “cinema puro”, mas também cinema de Lars von Trier: dogmatismo combater tendências do cinema contemporâneo e subversão, hiperintermidiático e “cosmetizado à exaustão”.2 defendida em 2006, Ou seja: balizado pela amplitude de mídias e efei- de Ouro em Cannes, Trier apropriou-se do estilo na mesma escola tos tecnológicos que, segundo Trier, somente musical hollywoodiano para subvertê-lo: sua nar- 2 Fonte: <www.dogme. serviriam como ilusão para o espectador e como rativa é trágica, pesada feito chumbo, sem contar dk>. Acesso em 5 o pretenso happy-end, um dos mais mórbidos da de janeiro de 2008 parafernália para a arte cinematográfica. história do cinema. O discurso provocativo do movimento suscitou ampla reflexão sobre os modos de produção e, Em 2003, uma nova subversão dogmática ocor- principalmente, sobre suas consequências estéti- re no documentário As cinco obstruções (De Fem cas e conceituais para a linguagem fílmica. Desde Bespaend), dirigido com o amigo Jorgen Leth a então, a euforia dogmática registrou o estilo trans- partir do curta-metragem O ser humano perfeito gressor de Lars von Trier, essencialmente com Os (The perfect human), de Leth, filmado em P&B, em idiotas (Idioterne, 1998), filme-tese do Dogma. 1967. Lars, como um “advogado do diabo”, desafia Contudo, antes disso, ele já havia demonstrado o amigo a refazer o curta-metragem cinco vezes seu estilo subversivo nos longas-metragens O a partir de duras obstruções. É uma espécie de elemento do crime (Forbrydelsens Element, 1984), novo dogma, que discute o processo produtivo Epidemia (Epidemic, 1987), Medeia (Medea, 1988), dos cineastas, as concessões e as limitações do Europa (Zentropa / Europe, 1991), Ondas do destino fazer fílmico. Dois anos depois, estreia Dogville, (Breaking the Waves, 1996), e na apocalíptica série o filme mais complexo e ambíguo do cineasta – O Reino I e II (Riget / The Kingdom, 1994-1997). junto com Manderlay (2005), sua continuação. É com mestria cinematográfica que Trier aí conjuga, Com um rompimento radical das propostas do atualiza e transgride grande parte dos dogmatis- Dogma 95, Trier produziu Dançando no escuro mos anteriores. (Dancer in the dark, 2000) com câmeras digitais (chegou a usar 100 câmeras na sequência musical Após concluir a comédia-de-escritório O grande do trem em movimento); iluminação artificial; e chefe (Direktoren for det Hele, 2006), Lars atualmen- cenas coreografadas com trilhas musicadas pela te produz The Anti-Christ (O Anticristo), filme de cantora islandesa Björk, entre outras proibições terror inspirado na filosofia de Friedrich Nietzsche, do Dogma. Nesse melodrama que levou a Palma e Wasington (Washington sem o h), terceira e úl- tima parte da “Trilogia América: terra das oportu- Pós: Belo Horizonte, v. 1, n. 2, p. 75 - 87, nov. 2011. nov. 87, - 75 p. 2, n. 1, v. Horizonte, Belo Pós: 76 nidades”, iniciada por Dogville e Manderlay. Outro chamar-se cinema de fusão. É importante que não 3 Disponínel no site: se pergunte aqui o que é ou não cinematográfico. <www.atalantafilmes. projeto de Trier é Dimension, filme a ser realizado pt>. Acesso em ao longo de 33 anos. O início ocorreu em 1991 e Porque chegamos a um estado em que tudo é 5 jan. 2008. só terá fim em 2024, quando Lars tiver 68 anos. possível. E aqui está uma pequena revelação do que é o cinema. Agora toda a gente vai deixar o 4 O espaço da diegese Esse work in progress consiste em filmar uma cena cinema convencional e pegar no cinema de fusão. é aquele que não de três minutos por ano em algum lugar diferente tem limites físicos, Será o único cinema do futuro! É por isso que é é o espaço virtual da Europa, captando assim o zeitgeist europeu ao importante ter um nome. Mas, piada à parte, foi construído pelo longo dos anos, cujo somatório equivale à dura- esta a direção que quis explorar em Dogville.3 filme através de ção da vida de Cristo, em mais um dogmatismo particularidades audíveis e visíveis, de Trier. Essa fusão entre as mídias mostra-se muitas é onde o filme ocorre. A ação que se vezes de modo “invisível”, até porque o espaço desenrola no filme só diegético4 do filme é metafísico, os persona- é possível no cinema. A subversão do épico em Dogville gens sociabilizam-se numa dimensão à parte, num mundo virtual criado por Trier dentro de Ao entrar no universo de Dogville, o espectador um galpão cenográfico na Suécia. E, embora logo recebe a indicação narrativa de que o “filme pareça minimalista, a cidade imaginária possui é contado em nove capítulos e um prólogo”. Em quase imperceptíveis efeitos especiais (como o seguida, é apresentado à cidade e aos seus habi- chroma-key, as trucagens óticas e a sobreposição tantes. Na primeira imagem, a câmera, numa vista de imagens) desde a primeira imagem, situada aérea, fornece-nos uma “planta” da cidade. Não se acima das nuvens, até o final do filme, quando o trata de uma cidade como as que conhecemos, cachorro se materializa. mas do esboço de uma aldeia num palco, com marcas de giz no chão negro delimitando as casas, Em Dogville não há contornos de psicologia pro- os nomes das ruas, os arbustos e as montanhas. funda dos personagens; as emoções são lineares Vê-se escrito, por exemplo, Casa de Thomas Edi- e tudo gira em torno de um perverso plano posto son, Casa de Tom, Casa de Chuck, Cachorro, etc. em prática por um personagem, Tom (Paul Bet- tany), como uma tese que precisa ser provada, Fato inédito na história do cinema, Dogville é um custe o que custar aos personagens envolvidos, filme que se pretende realista, mas que se passa pelos quais, no entanto, e apesar de tudo, o es- inteiramente num palco. Contudo, mesmo com pectador sente simpatia, compaixão e ódio. So- essa referência cênica, não se trata de uma peça mente na sequência final, após a vingança de filmada, pois o estilo fílmico de Trier confere à nar- Grace (Nicole Kidman), a bondosa moça acolhida rativa uma nova epistemologia cinematográfica. pelos moradores da cidade, é que esse mundo GERACE, metafísico adquire materialidade: o Mal de Do- O meu desafio é conseguir uma fusão entre o ci- gville personifica-se num cachorro que, antes nema, o teatro e a literatura, (...) uma mistura de em Intermidialidade Rodrigo. invisível, adquire carne e osso, e rosna com os estilos diferentes que impõe um ritmo uniforme. Dogville não é teatro filmado, ele vive a sua pró- dentes à mostra. pria vida, designa seus próprios critérios de valor. Ao localizar-se no esboço de uma cidade, Dogville É um novo gênero que pode de agora em diante produz no espectador um estranhamento: nada 77 Dogville ali existe concretamente, além das indicações a giz, dos personagens, de uma ou outra janela ou vitrina que terão função dramática na trama. Não há paredes nem portas, e mesmo assim vemos os personagens desviarem-se desses obstáculos invisíveis e ouvimos sons semelhantes às batidas DIFERENTEMENTE DO TEATRO, ONDE O ESPECTADOR TEM SEMPRE UM PANORAMA GERAL DO QUE OCORRE NO PALCO INTEIRO, EM DOGVILLE ELE É ENGOLFADO NOS CAMINHOS POR ONDE A CÂMERA TRAFEGA. de janelas e portas. De certo modo, aí se repetem algumas proposições fundamentais do Dogma 95, ainda que Dogville não seja um filme do movi- mento. A estética do filme é aparentemente des- desmascarar a engrenagem social, apontando-a pojada, mas totalmente intermidiática. Prioriza-se como mutável. O distanciamento “fornece ao es- a narrativa como recurso de estranhamento e, ao pectador uma atitude examinadora e crítica frente mesmo tempo, envolvimento. aos acontecimentos apresentados (...). Isso exige a premissa de remover tudo que é ‘mágico’ do Como no teatro épico proposto pelo dramatur- palco e da plateia e evitar que se originem ‘campos go alemão Bertolt Brecht (1898-1956), o palco hipnóticos’” (BRECHT, 1967, p. 160). O efeito não é, mostra-se desconstruído e cada pedaço que o simplesmente, “a quebra de uma ilusão (embora constitui está à vista. Assim como a cidade, ambos seja um meio, no final das contas); e não signifi- estão nus; não há a quarta parede, supondo-se ca “alienar” o espectador no sentido de torná-lo uma narrativa cinematográfica transparente, sem hostil à peça.
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