A representação do mal-estar líquido no cinema de Michael Haneke

• Ano de defesa: 2015
• Autor(a) principal: Cassales, Lucas Pereira
• Orientador(a): Gerbase, Carlos
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica do Rio Grande do Sul; Porto Alegre
• Palavras-chave em Português: CINEMA; CRÍTICA CINEMATOGRÁFICA; BAUMAN, ZYGMUNT - CRÍTICA E INTERPRETAÇÃO; HANEKE MICHAEL - CRÍTICA E INTERPRETAÇÃO; CINEASTAS - CRÍTICA E INTERPRETAÇÃO
• Link de acesso: http://hdl.handle.net/10923/7257

This dissertation analises the work of the austrian director Michael Haneke, placing it as a cinematographic representation of the liquid discomfort. To do so, first, it makes a historical and social survey about the elements that compose the liquid discomfort. Then, it studies is forming concepts, through the work of Jean Braudillard and, mainly, through the liquid theory of Zygmunt Bauman, characterizing the liquid discomfort from those theories. From that point, it brings Haneke as an author, to allow the use of his cinematography in terms of filmic representation of the liquid discomfort. As a methodological model of analysis, it bases in Aumont and Dubois to create an hybrid method of a more fluid and essay-like way: the narrative analysis. Supported in this progression, it analyses Haneke's first two feature films comercially distributed in screening rooms, The seventh continent (1989), and Benny’s video (1992), with the intent of showing its hipothesis.