| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 28.36 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
O presente ensaio analisa de que forma a construção de uma linguagem visual naturalista pode contribuir para a criação de vínculos emocionais entre o espectador e a personagem infantil, tomando como objeto de estudo a curta-metragem Seja o que Eu quiser, realizada no âmbito do Mestrado em Cinema, especialização em Cinema de
Ficção.
Partindo da constatação de que uma criança perceciona e interpreta o mundo de forma distinta, o trabalho procura compreender de que modo pode um diretor de fotografia trabalhar para facilitar essa aproximação emocional. Desenvolve-se então, uma reflexão teórica em torno de conceitos como o naturalismo cinematográfico, a relação emocional entre público e personagem e a construção de uma perspetiva infantil no cinema. O enquadramento teórico é também complementado pela análise de obras e autores cujas abordagens influenciaram a conceção estética e narrativa do projeto.
É apresentado o processo de conceção, preparação e execução da direção de fotografia da curta-metragem e também a uma análise crítica dessas decisões, identificando os desafios técnicos e criativos encontrados ao longo do projeto e avaliando o seu impacto na construção da narrativa.
Os resultados permitiram verificar que a procura por uma abordagem naturalista não implica propriamente a reprodução integral e fiel das condições reais do mundo, mas antes de uma seleção criteriosa dos elementos capazes de reforçar a credibilidade emocional de cada narrativa. Conclui-se, assim, que a definição de princípios visuais consistentes e a articulação entre as diferentes áreas criativas constituem fatores fundamentais para a construção de uma linguagem cinematográfica capaz de aproximar o espectador da experiência subjetiva da criança.
This essay examines how the construction of a naturalistic visual language can contribute to the creation of emotional bonds between the viewer and a child's perspective, taking as its object of study the short film Seja o que Eu quiser, produced within the framework of the Master's Degree in Cinema, specialising in Fiction Filmmaking. Starting from the premise that children perceive and interpret the world differently from adults, this work seeks to understand how a director of photography, trough his work, can facilitate such emotional engagement. To this end, it develops a theoretical reflection on concepts such as cinematic naturalism, the emotional relationship between audience and character, and the construction of a child's perspective in film. The theoretical framework is further complemented by the analysis of works and authors whose approaches influenced the aesthetic and narrative conception of the project. The essay presents the process of conception, preparation, and execution of the short film's cinematography, while also offering a critical analysis of these creative choices. In doing so, it identifies the technical and artistic challenges encountered throughout the project and evaluates their impact on the construction of the narrative. The results demonstrate that the pursuit of a naturalistic approach does not necessarily entail a complete and faithful reproduction of real-world conditions, but rather a careful selection of the elements capable of reinforcing the emotional credibility of each narrative. It is therefore concluded that the establishment of consistent visual principles, together with the articulation between the various creative departments, constitutes a fundamental factor in the development of a cinematic language capable of bringing the viewer closer to the child's subjective experience.
This essay examines how the construction of a naturalistic visual language can contribute to the creation of emotional bonds between the viewer and a child's perspective, taking as its object of study the short film Seja o que Eu quiser, produced within the framework of the Master's Degree in Cinema, specialising in Fiction Filmmaking. Starting from the premise that children perceive and interpret the world differently from adults, this work seeks to understand how a director of photography, trough his work, can facilitate such emotional engagement. To this end, it develops a theoretical reflection on concepts such as cinematic naturalism, the emotional relationship between audience and character, and the construction of a child's perspective in film. The theoretical framework is further complemented by the analysis of works and authors whose approaches influenced the aesthetic and narrative conception of the project. The essay presents the process of conception, preparation, and execution of the short film's cinematography, while also offering a critical analysis of these creative choices. In doing so, it identifies the technical and artistic challenges encountered throughout the project and evaluates their impact on the construction of the narrative. The results demonstrate that the pursuit of a naturalistic approach does not necessarily entail a complete and faithful reproduction of real-world conditions, but rather a careful selection of the elements capable of reinforcing the emotional credibility of each narrative. It is therefore concluded that the establishment of consistent visual principles, together with the articulation between the various creative departments, constitutes a fundamental factor in the development of a cinematic language capable of bringing the viewer closer to the child's subjective experience.
Descrição
Trabalho de projeto
Palavras-chave
Direção de fotografia Naturalismo Perspetiva infantil Vínculos emocionais Linguagem cinematográfica Direction of photography Naturalism Child perspective Emotional bonds Cinematic language