| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 2.67 MB | Adobe PDF | |||
| 197.9 KB | Adobe PDF |
Authors
Abstract(s)
Este ensaio constitui uma reflexão sobre as duas principais conceções de montagem cinematográfica, a expressiva e a narrativa, ao mesmo tempo que pretende fundamentar as opções de montagem no filme Deus Sabe, como parte integrante do trabalho de Mestrado em Comunicação Audiovisual, na vertente de Produção e Realização.
Procuramos também fundamentar a predominância do método de planificação analítica no filme Deus Sabe, não só pela sua adequação a uma montagem expressiva, mas sobretudo pela sua pertinência para a história.
Digamos que se procura evidenciar as potencialidades criativas e poéticas da montagem expressiva (que o cinema contemporâneo evita, preferindo o menor risco da montagem alicerçada na relação causal), geradora de um subtexto polissémico, já que ela introduz novos elementos, muitas vezes externos à diegese do filme, sem contudo inviabilizar o propósito da montagem narrativa cujo intuito é ajudar na compreensão da ação dramática por parte do espetador.
This essay constitutes a reflection on the two main montage concepts for cinematography, the expressive and the narrative, as to try to justify at the same time the montage options for the short feature God Knows, as integral part of the Master’s Degree in production for Audio-Visual Communications in major of Producing and Directing. We also tried to justify the dominance of the analytic planning method in the short feature God Knows, not only for its adequacy for an expressive montage, but especially for its relevance to the story. It has been attempted to justify the creative and poetic potential of expressive montage (which contemporary cinema is stubbornly avoiding, preferring lesser risks, stemming exclusively from causal relation), generator of a polysemy subtext, for it introduces new elements, often external to the film's diegesis, without denying focus on comprehending the narrative from the spectator's point of view.
This essay constitutes a reflection on the two main montage concepts for cinematography, the expressive and the narrative, as to try to justify at the same time the montage options for the short feature God Knows, as integral part of the Master’s Degree in production for Audio-Visual Communications in major of Producing and Directing. We also tried to justify the dominance of the analytic planning method in the short feature God Knows, not only for its adequacy for an expressive montage, but especially for its relevance to the story. It has been attempted to justify the creative and poetic potential of expressive montage (which contemporary cinema is stubbornly avoiding, preferring lesser risks, stemming exclusively from causal relation), generator of a polysemy subtext, for it introduces new elements, often external to the film's diegesis, without denying focus on comprehending the narrative from the spectator's point of view.
Description
Keywords
Montagem expressiva Cinema narrativo Cinema sintético Cinema analítico Expressive montage Narrative cinema Synthetic cinema Analytic cinema