Adaptação ao cinema: o Senhor dos Anéis e os Schemata Mediados

• Ano de defesa: 2017
• Autor(a) principal: VILLALON, Renan Claudino
• Orientador(a): Penha, Gelson Santana
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Anhembi Morumbi
• Programa de Pós-Graduação: Programa de Pós-Graduação Mestrado em Comunicação
• Departamento: Universidade Anhembi Morumbi::Diretoria de Pesquisa e Pós-graduação Stricto Sensu
• País: Brasil
• Palavras-chave em Português: Comunicação; História da arte; Análise fílmica
• Área do conhecimento CNPq: CIENCIAS HUMANAS
• Resumo em Inglês: The present thesis is a study of recognition of visual schemata, identified in works of painting and engraving in phases of the History of Art, as a form of visual production within the process of adaptation to the cinema of the work The Lord of the Rings (2001-2003), by Peter Jackson, referring to the book of the same name by J.R.R. Tolkien. It has as justification to propose an understanding concerning the part of the cognitive processes of the human mind, essentially related to the storage and recovery of visual structures (schemata), and in this case based on works mediated from different artistic and historical phases to the most current cinema in culture pop. The objective is to analyze how the literary content of The Lord of the Rings was transposed for the film trilogy, starting from the process mentioned by the art direction team, but also covering surviving schema structures in the collective imaginary rescued by the same artistic team of the adaptation. I used the empirical method, based on inferences from the corpus, through a theoretical cognitivist substantiation. For this study, the main concepts researched were: schema (by Ernst Gombrich), script (by David Bordwell and Michael Ranta), mediation (by Marco Bastos), adaptation (by Linda Hutcheon), classicism (by Annateresa Fabris), mannerism (by Arnold Hauser) and romanticism (by Walter Zanini), besides other researches related to: cognitive studies, artistic phases and adaptation processes in The Lord of the Rings production. The hypothesis tested deals with the possibility of visual models, dated from past artistic phases, to continue present in works of adaptation of books to films, such as the corpus of this study, through schemata mediations identified in visual works, surpassing the period of literature and reaching a more contemporary period of cinema in pop culture.
• Link de acesso: http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1739

The present thesis is a study of recognition of visual schemata, identified in works of painting and engraving in phases of the History of Art, as a form of visual production within the process of adaptation to the cinema of the work The Lord of the Rings (2001-2003), by Peter Jackson, referring to the book of the same name by J.R.R. Tolkien. It has as justification to propose an understanding concerning the part of the cognitive processes of the human mind, essentially related to the storage and recovery of visual structures (schemata), and in this case based on works mediated from different artistic and historical phases to the most current cinema in culture pop. The objective is to analyze how the literary content of The Lord of the Rings was transposed for the film trilogy, starting from the process mentioned by the art direction team, but also covering surviving schema structures in the collective imaginary rescued by the same artistic team of the adaptation. I used the empirical method, based on inferences from the corpus, through a theoretical cognitivist substantiation. For this study, the main concepts researched were: schema (by Ernst Gombrich), script (by David Bordwell and Michael Ranta), mediation (by Marco Bastos), adaptation (by Linda Hutcheon), classicism (by Annateresa Fabris), mannerism (by Arnold Hauser) and romanticism (by Walter Zanini), besides other researches related to: cognitive studies, artistic phases and adaptation processes in The Lord of the Rings production. The hypothesis tested deals with the possibility of visual models, dated from past artistic phases, to continue present in works of adaptation of books to films, such as the corpus of this study, through schemata mediations identified in visual works, surpassing the period of literature and reaching a more contemporary period of cinema in pop culture.