Detalhes bibliográficos
| Ano de defesa: |
2024 |
| Autor(a) principal: |
Cheida, Samir Saraiva
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| Orientador(a): |
Salles, Cecilia Almeida
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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/43922
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Resumo: |
This thesis investigates the creative processes in contemporary Brazilian audiovisual production. Specifically, it focuses on a mode of organization of the production, the Writer’s Room. With the diffusion of streaming services and a growing demand for series in Brazil, producers and writers were encouraged to use the North American method for writing narratives, and the Brazilian writer’s room is denominated sala de roteiro. The Writer’s Room is a method with marked hierarchy and with a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in the production of television and cinema. On the one hand, the soap opera, the television melodrama, remains one of the most watched programs in the country, and has its own method of creating the narrative. On the other hand, in part of the films and series produced in the country, the way of conducting projects is marked by author’s cinema, a Brazilian derivation of the authors' policy of Cahier Du Cinéma. In addition, the Brazilian writer’s room has a strong interference from executives of streaming platforms and the interests of the producer that houses the script room. Which stories and which languages are the result of these combinations are the questions that this investigation raises. For this, the focus of the research will be directed to series such as Rota 66 (2022) created by Maria Camargo and Teodoro Poppovic, O Rei da TV (2022) created by Marcus Baldini, André Barcinski and Ricardo Grynszpan, Cangaço Novo created by Mariana Bardan and Eduardo Melo. All objects that somehow coexisted in their creation processes with the combination of different methods, different traditions, forming a hybrid writer’s room. As a theoretical foundation, the research intends to use the concepts of the critical theory of creative processes developed by Cecilia Salles. By analyzing how the conception of audiovisual narratives has created, we can verify whether, as the researcher brings us, the creation process is done in network and is a consequence of the interaction between the personal projects of the various team members. In addition, the research dialogues with the history of Brazilian audiovisual and the reflections of theorists such as Esther Hamburger and Jean-Claude Bernardet about television and national cinema will be important points of support for the analysis of how the production of series' scripts was organized in the country |
