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Abstract(s)
O presente ensaio explora a Voz Narrativa como um elemento-chave na
realização da curta-metragem de ficção Umbral (2024), utilizando as teorias de Gérard
Genette sobre níveis narrativos, narrativa metadiegética e metalepse, juntamente com o
conceito de "filmes puzzle psicológicos", introduzido por Elliot Panek, que criam uma
ambiguidade deliberada e envolvem a audiência numa interpretação ativa. O estudo
detalha a construção das personagens de Umbral (2024), nomeadamente do
protagonista Edgar, cuja "defesa moral", em interação com a dualidade representada pela
personagem da Irmã, atua como um catalisador crucial para o desenrolar da narrativa,
criando uma tensão interna que impulsiona o desenvolvimento da história. A análise
desenvolvida revela ainda que Umbral (2024) não é apenas uma narrativa sobre crime e
castigo, mas sim uma proposta de reflexão sobre o julgamento moral, alcançada através
do esforço colaborativo na Realização, Fotografia, Som e Arte. Ao empregar técnicas
como a narração alternada, a narrativa metadiegética e a metalepse, para sustentar a
ambiguidade, o filme encoraja a audiência a envolver-se profundamente com a história
e a interpretar ativamente o seu significado, desafiando a narrativa convencional e
criando, em última análise, uma experiência cinematográfica complexa e provocadora.
This essay explores the Narrative Voice as a key element in directing the short fiction film Umbral (2024), using Gérard Genette,s theories on narrative levels, metadiegetic narrative, and metalepses, along with the concept of "psychological puzzle films", introduced by Elliot Panek, that create deliberate ambiguity and engage the audience in active interpretation. The study details the process of characters construction, mainly the protagonist Edgar, vvhose "moral defense", in interaction With the duality represented by the character Sister, became a crucial catalyst for the unfolding of the narrative, creating an internal tension that drives the development of the story. The analysis reveals that Umbral (2024) is not just a narrative about crime and punishment but rather a reflection on moral judgment, achieved through the collaborative efforts by the Directing, Photography, Sound, and Art departments. By employing techniques such as alternating narration, metadiegetic narrative, and metalepses to sustain ambiguity, the film encourages the audience to engage deeply With the story, and to actively interpret its meaning, challenging conventional Storytelling, and ultimately creating a complex and thought-provoking cinematic experience.
This essay explores the Narrative Voice as a key element in directing the short fiction film Umbral (2024), using Gérard Genette,s theories on narrative levels, metadiegetic narrative, and metalepses, along with the concept of "psychological puzzle films", introduced by Elliot Panek, that create deliberate ambiguity and engage the audience in active interpretation. The study details the process of characters construction, mainly the protagonist Edgar, vvhose "moral defense", in interaction With the duality represented by the character Sister, became a crucial catalyst for the unfolding of the narrative, creating an internal tension that drives the development of the story. The analysis reveals that Umbral (2024) is not just a narrative about crime and punishment but rather a reflection on moral judgment, achieved through the collaborative efforts by the Directing, Photography, Sound, and Art departments. By employing techniques such as alternating narration, metadiegetic narrative, and metalepses to sustain ambiguity, the film encourages the audience to engage deeply With the story, and to actively interpret its meaning, challenging conventional Storytelling, and ultimately creating a complex and thought-provoking cinematic experience.
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Keywords
Voz narrativa Narração Metadiegese Filme puzzle Defesa moral Narrative voice Narration Metadiegesis Puzzle film Moral defense