Três reflexões sobre a direção de arte no cinema brasileiro
Furkejuvvon:
| Váldodahkki: | |
|---|---|
| Almmustuhttinbeaivi: | 2019 |
| Materiálatiipa: | Master thesis |
| Giella: | por |
| Gáldu: | Repositório Institucional da UFG |
| Download full: | http://repositorio.bc.ufg.br/tede/handle/tede/9930 |
Čoahkkáigeassu: | This research aims to identify and reflect upon the defining characteristics of the emergence of production design in Brazilian film and the procedures it adopted in the following decades. The function, related to the practice of staging, uses the most diverse forms of expression for the elaboration of one or more visualities. It is likely that the first film to assign a credit for production design in Brazil was El Justicero (Nelson Pereira dos Santos, 1967), where Luiz Carlos Ripper is credited as production designer. In 1974, the film A Casa das Tentações, directed by filmmaker and film critic Rubem Biáfora - also responsible for set design - enlists a credit for Rocco Biaggi, possibly a pseudonym of the director himself, as production designer. Also noteworthy is the symbolic art direction of O Gigante da América, directed by Julio Bressane and released in 1978. The thematic diversity of the 1980s, obvious in the filmographies of Walter Hugo Khouri and Hector Babenco, displays an intensity in experimentation, a fertile ground for the development of production designers, set designers and costume designers. However, the actual establishment of the function in Brazilian film really takes place in the 1990s, through the internationalization of productions and the requirement for a "well-finished" image. From this perspective, we believe the film Central Station (Walter Salles, 1998) to disclose important characteristics in the production design of that period. |
| _version_ | 1871426411041914880 |
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| author | Santos Neto, Benedito Ferreira dos |
| author_browse | Santos Neto, Benedito Ferreira dos |
| author_facet | Santos Neto, Benedito Ferreira dos |
| author_role | author |
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| collection | Repositório Institucional da UFG |
| contributor_str_mv | Jesus, Samuel José Gilbert de Nogueira, Lisandro Magalhães Ribeiro, José Maria Gonçalves da Silva |
| dc.contributor.advisor1.fl_str_mv | Jesus, Samuel José Gilbert de |
| dc.contributor.advisor1Lattes.fl_str_mv | http://lattes.cnpq.br/3589952430806659 |
| dc.contributor.author.fl_str_mv | Santos Neto, Benedito Ferreira dos |
| dc.contributor.authorLattes.fl_str_mv | http://lattes.cnpq.br/4287550497603284 |
| dc.contributor.referee1.fl_str_mv | Nogueira, Lisandro Magalhães |
| dc.contributor.referee2.fl_str_mv | Ribeiro, José Maria Gonçalves da Silva |
| dc.date.accessioned.fl_str_mv | 2019-08-15T11:49:11Z |
| dc.date.issued.fl_str_mv | 2019-06-26 |
| dc.format.none.fl_str_mv | application/pdf |
| dc.identifier.citation.fl_str_mv | SANTOS NETO, Benedito Ferreira dos. Três reflexões sobre a direção de arte no cinema brasileiro. 2019. 138 f. Dissertação (Mestrado em Arte e Cultura Visual) - Universidade Federal de Goiás, Goiânia, 2019. |
| dc.identifier.uri.fl_str_mv | http://repositorio.bc.ufg.br/tede/handle/tede/9930 |
| dc.language.iso.fl_str_mv | por |
| dc.publisher.country.fl_str_mv | Brasil |
| dc.publisher.department.fl_str_mv | Faculdade de Artes Visuais - FAV (RG) |
| dc.publisher.initials.fl_str_mv | UFG |
| dc.publisher.none.fl_str_mv | Universidade Federal de Goiás |
| dc.publisher.program.fl_str_mv | Programa de Pós-graduação em Arte e Cultura Visual (FAV) |
| dc.relation.cnpq.fl_str_mv | 4846526795450880629 |
| dc.relation.confidence.fl_str_mv | 600 600 600 |
| dc.relation.department.fl_str_mv | -5849096158746369096 |
| dc.relation.program.fl_str_mv | 5419363139851951878 |
| dc.rights.driver.fl_str_mv | http://creativecommons.org/licenses/by-nc-nd/4.0/ info:eu-repo/semantics/openAccess |
| dc.source.none.fl_str_mv | reponame:Repositório Institucional da UFG instname:Universidade Federal de Goiás (UFG) instacron:UFG |
| dc.subject.cnpq.fl_str_mv | ARTES::CINEMA |
| dc.subject.eng.fl_str_mv | Brazilian cinema Production design Set design |
| dc.subject.por.fl_str_mv | Cinema brasileiro Direção de arte Cenografia |
| dc.title.alternative.eng.fl_str_mv | Three reflections on production design in brazilian film |
| dc.title.eng.fl_str_mv | Três reflexões sobre a direção de arte no cinema brasileiro |
| dc.type.driver.fl_str_mv | info:eu-repo/semantics/masterThesis |
| dc.type.status.fl_str_mv | info:eu-repo/semantics/publishedVersion |
| description | This research aims to identify and reflect upon the defining characteristics of the emergence of production design in Brazilian film and the procedures it adopted in the following decades. The function, related to the practice of staging, uses the most diverse forms of expression for the elaboration of one or more visualities. It is likely that the first film to assign a credit for production design in Brazil was El Justicero (Nelson Pereira dos Santos, 1967), where Luiz Carlos Ripper is credited as production designer. In 1974, the film A Casa das Tentações, directed by filmmaker and film critic Rubem Biáfora - also responsible for set design - enlists a credit for Rocco Biaggi, possibly a pseudonym of the director himself, as production designer. Also noteworthy is the symbolic art direction of O Gigante da América, directed by Julio Bressane and released in 1978. The thematic diversity of the 1980s, obvious in the filmographies of Walter Hugo Khouri and Hector Babenco, displays an intensity in experimentation, a fertile ground for the development of production designers, set designers and costume designers. However, the actual establishment of the function in Brazilian film really takes place in the 1990s, through the internationalization of productions and the requirement for a "well-finished" image. From this perspective, we believe the film Central Station (Walter Salles, 1998) to disclose important characteristics in the production design of that period. |
| eu_rights_str_mv | openAccess |
| format | masterThesis |
| id | UFG-2_c2e8f67fdf68a2b043daa6d6dd8660bf |
| identifier_str_mv | SANTOS NETO, Benedito Ferreira dos. Três reflexões sobre a direção de arte no cinema brasileiro. 2019. 138 f. Dissertação (Mestrado em Arte e Cultura Visual) - Universidade Federal de Goiás, Goiânia, 2019. |
| instacron_str | UFG |
| institution | UFG |
| instname_str | Universidade Federal de Goiás (UFG) |
| language | por |
| network_acronym_str | UFG-2 |
| network_name_str | Repositório Institucional da UFG |
| oai_identifier_str | oai:repositorio.bc.ufg.br:tede/9930 |
| publishDate | 2019 |
| publishDateSort | 2019 |
| publisher.none.fl_str_mv | Universidade Federal de Goiás |
| reponame_str | Repositório Institucional da UFG |
| repository.mail.fl_str_mv | grt.bc@ufg.br |
| repository.name.fl_str_mv | Repositório Institucional da UFG - Universidade Federal de Goiás (UFG) |
| repository_id_str | oai:repositorio.bc.ufg.br:tede/1234 |
| rights_invalid_str_mv | http://creativecommons.org/licenses/by-nc-nd/4.0/ |
| spelling | Jesus, Samuel José Gilbert dehttp://lattes.cnpq.br/3589952430806659Nogueira, Lisandro MagalhãesRibeiro, José Maria Gonçalves da Silvahttp://lattes.cnpq.br/4287550497603284Santos Neto, Benedito Ferreira dos2019-08-15T11:49:11Z2019-06-26SANTOS NETO, Benedito Ferreira dos. Três reflexões sobre a direção de arte no cinema brasileiro. 2019. 138 f. Dissertação (Mestrado em Arte e Cultura Visual) - Universidade Federal de Goiás, Goiânia, 2019.http://repositorio.bc.ufg.br/tede/handle/tede/9930This research aims to identify and reflect upon the defining characteristics of the emergence of production design in Brazilian film and the procedures it adopted in the following decades. The function, related to the practice of staging, uses the most diverse forms of expression for the elaboration of one or more visualities. It is likely that the first film to assign a credit for production design in Brazil was El Justicero (Nelson Pereira dos Santos, 1967), where Luiz Carlos Ripper is credited as production designer. In 1974, the film A Casa das Tentações, directed by filmmaker and film critic Rubem Biáfora - also responsible for set design - enlists a credit for Rocco Biaggi, possibly a pseudonym of the director himself, as production designer. Also noteworthy is the symbolic art direction of O Gigante da América, directed by Julio Bressane and released in 1978. The thematic diversity of the 1980s, obvious in the filmographies of Walter Hugo Khouri and Hector Babenco, displays an intensity in experimentation, a fertile ground for the development of production designers, set designers and costume designers. However, the actual establishment of the function in Brazilian film really takes place in the 1990s, through the internationalization of productions and the requirement for a "well-finished" image. From this perspective, we believe the film Central Station (Walter Salles, 1998) to disclose important characteristics in the production design of that period.A pesquisa propõe identificar e refletir sobre as características que marcam o surgimento da direção de arte no cinema produzido no Brasil e seus procedimentos adotados nas décadas seguintes. A função, aproximada com a prática da encenação, utiliza-se das mais diversas formas de expressão para a elaboração de uma ou mais visualidades. É provável que a primeira produção a designar o crédito de diretor de arte seja El Justicero (Nelson Pereira dos Santos, 1967), que conta com a direção de arte de Luiz Carlos Ripper. Em 1974, o filme A Casa das Tentações, dirigido pelo cineasta e crítico de cinema Rubem Biáfora – responsável também pela cenografia da obra –, apresenta o crédito de diretor de arte a Rocco Biaggi, possível pseudônimo do diretor. Destaca-se ainda a direção de arte simbólica de O Gigante da América, dirigido por Júlio Bressane e lançado em 1978. A diversidade temática na década de 1980, evidente nas filmografias de Walter Hugo Khouri e Hector Babenco, demonstra uma intensidade nas experimentações, terreno fértil para o aprimoramento de diretores de arte, cenógrafos e figurinistas. Contudo, o estabelecimento da função no cinema brasileiro ocorre na década de 1990, por intermédio do processo de internacionalização das produções e o requerimento de uma imagem “bem-acabada”. Nessa perspectiva, acreditamos que o filme Central do Brasil (Walter Salles, 1998) revela características importantes da direção de arte do período.application/pdfporUniversidade Federal de GoiásPrograma de Pós-graduação em Arte e Cultura Visual (FAV)UFGBrasilFaculdade de Artes Visuais - FAV (RG)http://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessCinema brasileiroDireção de arteCenografiaBrazilian cinemaProduction designSet designARTES::CINEMATrês reflexões sobre a direção de arte no cinema brasileiroThree reflections on production design in brazilian filminfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis5419363139851951878600600600-58490961587463690964846526795450880629reponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGLICENSElicense.txtlicense.txttext/plain; charset=utf-82165http://repositorio.bc.ufg.br/tede/bitstreams/dc439fc1-f178-489f-be46-bcedc3155bf1/downloadbd3efa91386c1718a7f26a329fdcb468MD51CC-LICENSElicense_urllicense_urltext/plain; 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| spellingShingle | Três reflexões sobre a direção de arte no cinema brasileiro Santos Neto, Benedito Ferreira dos Cinema brasileiro Direção de arte Cenografia Brazilian cinema Production design Set design ARTES::CINEMA |
| status_str | publishedVersion |
| title | Três reflexões sobre a direção de arte no cinema brasileiro |
| title_full | Três reflexões sobre a direção de arte no cinema brasileiro |
| title_fullStr | Três reflexões sobre a direção de arte no cinema brasileiro |
| title_full_unstemmed | Três reflexões sobre a direção de arte no cinema brasileiro |
| title_short | Três reflexões sobre a direção de arte no cinema brasileiro |
| title_sort | Três reflexões sobre a direção de arte no cinema brasileiro |
| topic | Cinema brasileiro Direção de arte Cenografia Brazilian cinema Production design Set design ARTES::CINEMA |
| url | http://repositorio.bc.ufg.br/tede/handle/tede/9930 |