Detalhes bibliográficos
| Ano de defesa: |
2024 |
| Autor(a) principal: |
Parente, Francisco Etruri
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| Orientador(a): |
Santaella, Lucia
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Pós-Graduação em Comunicação e Semiótica
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://repositorio.pucsp.br/jspui/handle/handle/42652
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Resumo: |
“The tragic – A discursive deconstruction of Hollywood cinema: tradition, inflection and trends” is the title of this thesis whose objective is to demonstrate how the tragic and tragedy become tools for deconstructing the ideological discourse produced by Hollywood. The theme is considered under the paradigm of Sam Peckinpah's cinematography, which seeks to escape and combat the tradition that preceded it by using a philosophical thought that has permeated Western culture since ancient Greece. The contextualization explores the tragic genre based on its conflict with the Apollonian Enlightenment, starting with a clash in the Greek polis, passing through the modernity experienced by Nietzsche and reaching the crisis of classical Hollywood cinema. This problematizes the crisis of tragic thinking in the era of the cultural industry, which starts to reject the ontological pessimism of tragedies in the name of adulation of modern teleological progress. The hypothesis places at the beginning of the tragic genre the direct clash with the dialectic of enlightenment, a moment in which rationality itself blinds itself, making it possible to perceive in Sam Peckinpah's films the same opposition that we saw in Aeschylus, Sophocles, Euripides and Nietzsche during of the intellectual movements of their times. The scope and outline of the object of study are justified in an updated filmography. The methodological procedures seek to map the eternal return of the clash between Enlightenment aspirations and the tragic perspective of immutability of the human condition, culminating in the passage of the spirit of the time from modernity to post-modernity in its denunciation of the teleological failures that we observe in Nietzsche and in Peckinpah. The objectives are to evaluate the tragic as a response to the crisis of Hollywood classicism to understend for the identity of the contemporary subject. The bibliography focused on Hellenists such as Werner Jeager, Jean-Pierre Vernant and Pierre Vidal-Naquet to reconstitute the Hellenic world, with regard to Nietzschean debates, in addition to the author himself, we will use the interpretation of Roberto Machado as the main commentator of his work, When we turn to Hollywood we will contextualize his training with David Bordwell, Kristin Thompson and Janet Staiger, and then contrast his vision with the Marxist criticism of Adorno and Horkheimer under the paradigm of the cultural industry and also in a psychoanalytic reading that considers a richness of the enunciative character make classicism. Finally, we seek an interpretation of Peckinpah's films selections that dialogue with the crisis of modernity, using a wide range of writers such as 11 Shakespeare, Freud and Kafka. The research is divided into a structure of three chapters, the first being: “Theatrical tragedy and tragic thought” in which we study the distinction between tragic and the tragedy to better define them as categories of analysis. In the second chapter “Hollywood's Discourse” this industry is defined based on its historical formation and then we problematize the cultural value of its productions to adequately contextualize the environment that gives rise to the selected filmography. In the third and final chapter we bring the films: Ride the High Country, Wild Bunch, Straw Dogs, Pat Garrett and Billy the Kid, Bring Me the Head of Alfredo Garcia, Killer Elite and Cross of Iron, for we will deepen the analysis of the classical tradition, the industry's inflection in the face of the tragic proposal and the trends that can be glimpsed from this method of returning to the universal value of cinema's matrices |
