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O papel da montagem na criação de atmosferas oníricas no cinema: o caso da curta-metragem “Os Seres Cantarão”
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O seguinte ensaio discute a montagem cinematográfica como elemento na construção de Atmosferas, aplicando ao contexto do projeto Os Seres Cantarão (2025). Atmosfera entende-se como um fenómeno subjetivo, resultante da relação entre obra e espectador. Nesse sentido, sabendo-se que a montagem organiza o tempo e o espaço, é possível afirmar que pode afetar a dimensão sensorial do espectador. Enquanto o espaço é delimitado por elementos concretos, como objetos e enquadramentos, o tempo é intangível, permitindo uma manipulação complexa deste. A montagem explora essa capacidade, controlando ritmos, promovendo continuidade ou provocando ruturas, de modo a influenciar não apenas a narrativa, mas a experiência sensorial e emocional do espectador.
Esta função assume maior relevância no cinema pós-clássico, marcado por narrativas fragmentadas, suspensões e dilatações temporais, que ampliam a subjetividade e favorecem a criação de atmosferas densas e complexas. Filmes como Valerie and Her Week of Wonders (1970) e Picnic at Hanging Rock (1975) ilustram essa abordagem sensorial, utilizando manipulações temporais e visuais para intensificar a experiência subjetiva.
No caso de Os Seres Cantarão (2025), essas reflexões ajudaram a compreender as escolhas de montagem voltadas para o tempo ambíguo e para a revelação das tensões emocionais entre personagens. Técnicas como dissolve, sobreposições e cortes sonoros foram usadas não apenas como recursos formais, mas como estratégias na tentativa de intensificar a atmosfera, manipular a perceção temporal e expandir a experiência do espectador consolidando a montagem como instrumento essencial na criação de
sensações e afetos cinematográficos.
The following essay discusses film editing as an element in the construction of Atmospheres, applying it to the context of the project Os Seres Cantarão (2025). Atmosphere is understood as an intersubjective phenomenon, resulting from the relationship between work and spectator. In this sense, editing organizes time and space in a way that affects the spectator's sensory dimension. While space is delimited by concrete elements, such as objects and framing, time is intangible, allowing for complex manipulation of it. Editing explores this capacity, controlling rhythms, promoting continuity, or provoking ruptures, influencing not only the narrative but also the spectator's sensory and emotional experience. This function assumes greater relevance in postclassic cinema, marked by fragmented narratives, suspensions, and temporal dilations, which expand subjectivity and foster the creation of dense and complex atmospheres. Films such as Valerie and Her Week of Wonders (1970) and Picnic at Hanging Rock (1975) illustrate this sensory approach, using temporal and visual manipulations to intensify the subjective experience. In the case of Os Seres Cantarão, these reflections guided editing choices focused on ambiguous time and the revelation of emotional tensions between characters. Techniques such as dissolves, superimpositions, and sound cuts were used not only as formal devices but also as strategies to intensify the atmosphere, manipulate temporal perception, and expand the viewer's experience, cementing editing as an essential instrument in creating cinematic sensations and affects.
The following essay discusses film editing as an element in the construction of Atmospheres, applying it to the context of the project Os Seres Cantarão (2025). Atmosphere is understood as an intersubjective phenomenon, resulting from the relationship between work and spectator. In this sense, editing organizes time and space in a way that affects the spectator's sensory dimension. While space is delimited by concrete elements, such as objects and framing, time is intangible, allowing for complex manipulation of it. Editing explores this capacity, controlling rhythms, promoting continuity, or provoking ruptures, influencing not only the narrative but also the spectator's sensory and emotional experience. This function assumes greater relevance in postclassic cinema, marked by fragmented narratives, suspensions, and temporal dilations, which expand subjectivity and foster the creation of dense and complex atmospheres. Films such as Valerie and Her Week of Wonders (1970) and Picnic at Hanging Rock (1975) illustrate this sensory approach, using temporal and visual manipulations to intensify the subjective experience. In the case of Os Seres Cantarão, these reflections guided editing choices focused on ambiguous time and the revelation of emotional tensions between characters. Techniques such as dissolves, superimpositions, and sound cuts were used not only as formal devices but also as strategies to intensify the atmosphere, manipulate temporal perception, and expand the viewer's experience, cementing editing as an essential instrument in creating cinematic sensations and affects.
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Palavras-chave
Cinema Montagem Atmosferas Pós-clássico Editing Atmospheres PostClassic