Detalhes bibliográficos
| Ano de defesa: |
2012 |
| Autor(a) principal: |
Penney, Paola Prestes
 |
| Orientador(a): |
Leão, Lucia Isaltina Clemente |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Comunicação
|
| País: |
BR
|
| 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://tede2.pucsp.br/handle/handle/4369
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Resumo: |
This study investigates the processes through which poetic narratives are constructed in documentary cinema and their results. In order to do so, the question of the audiovisual poetry that is formed through images, sounds, and words will be analyzed. In its turn, this analysis will serve as the basis of the proposition of this study, the creation of poetic languages, and the mapping of new discernible frontiers of communication and perception in the context of the production of documentary cinema. Three documentaries by the German filmmaker Werner Herzog are analyzed Fata Morgana (1971), Lessons of darkness (1992), and The wild blue yonder (2005) which, in the context of this dissertation, constitute a poetic trilogy. Based on these works and documental material on the director, this project aims to elucidate Herzog s creative processes and their transformations in each phase of realization of those films, from the choices in conceptual approach to the editing, by comparatively analyzing the way text, image, and sound are worked together. To this end, the study of these three works is founded in two moments: the realization (technical analysis) and the result (analysis of the poetic or artistic language). This methodology satisfies technical criteria as much as it does sensibility criteria, and when combined with Gaston Bachelard s, Arlindo Machado s, and Gilles Deleuze s concepts of image, this study reveals the processes of audiovisual language creation in documentary cinema that transcend the limits of the genre |
