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Abstract(s)
Este ensaio debruça-se sobre o recurso a estratégias narrativas e técnicas,
particularmente aos códigos do género documental, para a criação da impressão de
uma realidade. Por meio de um estudo teórico, é percetível a influência do registo
fotográfico na perceção do real, sendo analisada a relação do Homem com o mundo
envolvente através da sua reprodução realista. A premissa da práxis assenta-se nos
pensamentos de Roland Barthes e Susan Sontag, fazendo referência às obras
Autorretrato Afogado (Bayard, 1840) de Hyppolite Bayard, a emissão em rádio de War
of the Worlds (Welles, 1938) e ao filme The Blair Witch Project (Cowie & Hale, 1999).
Partindo desta observação, é escrito o argumento do falso-documentário A
Queimada, onde o universo da tradicionalidade portuguesa é retratado através de uma
narrativa ficcional. A metodologia adotada na sua construção possibilita a simbiose
entre a realidade e a sua reprodução, dificultando, deste modo, a distinção entre a
representação do real e a sua encenação na narrativa proposta. Também as opções de
realização contribuíram para o realismo da ficção. A escolha de décores naturais, bem
como de um elenco composto por ‘não-atores’, dirigidos ‘mais livremente’ e sem acesso
ao argumento, são os principais tópicos onde este ensaio se foca.
This essay focuses on the use of narrative and technical strategies to create the impression of a reality, essentially by adopting the codes of the documentary genre. Combining a theoretical study with an analysis of how a person relates to its surroundings through its realistic depictions, it is possible to detect the influence of photographic evidence in perceiving reality. Therefore, the premise of this praxis is based on the studies of Roland Barthes and Susan Sontag, referencing Hyppolite Bayard’s photography Self Portrait as a Drowned Man (Bayard, 1840),War of the Worlds (Welles, 1938) radio broadcast, and the movie The Blair Witch Project (Cowie & Hale, 1999). The script of A Queimada, a false documentary, is written founded on this research, with the intent of portraying the universe of Portuguese traditionality through a fictional narrative. The approach employed in the construction of the narrative conveys a symbiosis between reality and its reproduction, thus challenging the distinction between the representation of ‘what’s real’ and its imitation. Given that the directing strategies also contributed to the realism of this fiction film, this essay mainly focuses on the preference for natural décors, and on the cast of 'non-actors', which were directed in 'more freely' way and without access to the argument.
This essay focuses on the use of narrative and technical strategies to create the impression of a reality, essentially by adopting the codes of the documentary genre. Combining a theoretical study with an analysis of how a person relates to its surroundings through its realistic depictions, it is possible to detect the influence of photographic evidence in perceiving reality. Therefore, the premise of this praxis is based on the studies of Roland Barthes and Susan Sontag, referencing Hyppolite Bayard’s photography Self Portrait as a Drowned Man (Bayard, 1840),War of the Worlds (Welles, 1938) radio broadcast, and the movie The Blair Witch Project (Cowie & Hale, 1999). The script of A Queimada, a false documentary, is written founded on this research, with the intent of portraying the universe of Portuguese traditionality through a fictional narrative. The approach employed in the construction of the narrative conveys a symbiosis between reality and its reproduction, thus challenging the distinction between the representation of ‘what’s real’ and its imitation. Given that the directing strategies also contributed to the realism of this fiction film, this essay mainly focuses on the preference for natural décors, and on the cast of 'non-actors', which were directed in 'more freely' way and without access to the argument.
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Keywords
Falso-documentário Realidade Ficção Ilusão Argumento Mockumentary Reality Fiction Illusion Script