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Advisor(s)
Abstract(s)
A presente dissertação tem como objetivo principal procurar o sentido da declaração
de Robert Bresson, onde o cineasta afirma que o cinema é o movimento interior. Esta reflexão
terá como ponto de partida uma intuição de François Truffaut sobre a afirmação de Bresson,
onde o cineasta da Nouvelle Vague separa o movimento interior em dois: o movimento
interior das personagens e o movimento interior do filme.
Na primeira parte, com a intenção de levar a cabo uma leitura materialista do estilo
de Bresson, pretendo defender que, se o movimento interior das almas das personagens só
se torna sensível através do movimento interior do filme, é porque Bresson faz uma
recuperação do sentido material do conceito de estilo, aproximando-se de um método
artesanal de fazer cinema. Assim, o movimento interior das almas nasce de um trabalho
material profundo no movimento interior do filme.
Na segunda parte, pretendo mostrar como, no cinema de Bresson, estes dois
movimentos interiores são inseparáveis e constituem uma unidade, isto é, como a
interioridade fílmica traduz a vida interior das personagens. Esta ligação, entre um movimento
e o outro, é feita através de um raccord extra: o raccord interior.
A terceira parte será dedica a uma análise fílmica, onde analisarei cenas específicas
que evidenciam a presença de raccords interiores, onde os movimentos internos do filme se
conjugam entre si para refletirem os movimentos interiores das personagens.
The main objective of this dissertation is to seek the meaning of Robert Bresson's statement, where the filmmaker affirms that cinema is the interior movement. This reflection will have, as its starting point, an intuition of François Truffaut about Bresson's statement, where the Nouvelle Vague filmmaker separates the interior movement into two: the characters' interior movement and the film's interior movement. In the first part, with the intention of carrying out a materialist reading of Bresson's style, I intend to defend that, if the inner movement of the characters' souls only becomes sensitive through the film's inner movement, it is because Bresson makes a recovery of the material meaning of the concept of style, by approaching an artisanal method of filmmaking. Thus, the inner movement of souls is born from a deep material work in the inner movement of the film. In the second part, I intend to show how, in Bresson's cinema, these two interior movements are inseparable and constitute a unity, that is, how filmic interiority translates the characters' interior life. This connection, between one movement and the other, is made through an extra match cut: the interior match cut. The third part will be dedicated to a filmic analysis, where I will analyze specific scenes that show the presence of interior match cuts, where the film's internal movements are combined with each other to reflect the characters' interior movements.
The main objective of this dissertation is to seek the meaning of Robert Bresson's statement, where the filmmaker affirms that cinema is the interior movement. This reflection will have, as its starting point, an intuition of François Truffaut about Bresson's statement, where the Nouvelle Vague filmmaker separates the interior movement into two: the characters' interior movement and the film's interior movement. In the first part, with the intention of carrying out a materialist reading of Bresson's style, I intend to defend that, if the inner movement of the characters' souls only becomes sensitive through the film's inner movement, it is because Bresson makes a recovery of the material meaning of the concept of style, by approaching an artisanal method of filmmaking. Thus, the inner movement of souls is born from a deep material work in the inner movement of the film. In the second part, I intend to show how, in Bresson's cinema, these two interior movements are inseparable and constitute a unity, that is, how filmic interiority translates the characters' interior life. This connection, between one movement and the other, is made through an extra match cut: the interior match cut. The third part will be dedicated to a filmic analysis, where I will analyze specific scenes that show the presence of interior match cuts, where the film's internal movements are combined with each other to reflect the characters' interior movements.
Description
Dissertação de mestrado
Keywords
Robert Bresson Cinema Movimento Interior Estilo Raccords do interior Interior Movement Style Interior match cut