A linguagem cinematográfica: uma abordagem semiótica da fotografia em movimento e sua aplicação em The Crow (1994)

• Ano de defesa: 2021
• Autor(a) principal: Fiori, Fernando Martins
• Orientador(a): Signori, Mônica Baltazar Diniz
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Carlos; Câmpus São Carlos
• Programa de Pós-Graduação: Programa de Pós-Graduação em Linguística - PPGL
• Palavras-chave em Português: Semiótica; Cinema
• Palavras-chave em Inglês: The Crow
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA; LINGUISTICA, LETRAS E ARTES::ARTES
• Link de acesso: https://repositorio.ufscar.br/handle/20.500.14289/14056

This thesis proposes a semiotic look at the cinematographic language, aiming at a more accurate description of the expressive visual elements at play in the process of meaning not only of the films, but, above all, of the different audiovisual genres that use the same cinematographic code for their manifestation. Our theoretical framework starts from the semiotics of French tradition - including its tensive proposal, which, certainly, does not disregard the premises that support this broad theoretical project - in addition to cinema studies. The first part of this work is reserved for the formulation of analytical bases on the cinematographic language, and begins with the survey and reflection on studies that bring cinema and linguistics together, through key concepts for this, as value, syntagm, paradigm, sign, text, system, code and language. With that, we outlined guidelines for the observation of cinema, whose code is built by the syncretism between the photographic, musical and linguistic codes, culminating in an analytical perspective from the approaches of Waldir Beividas, Claude Zilberberg and Jacques Fontanille. The second part proposes to test the effectiveness of what we have been building, starting from the analysis of an object of study: the film The Crow (1994), chosen due to the sensitivity with which it mobilizes the photographic code, creating peculiar and contributing to the flow of the text, which highlights the continuous movements of interdependence between the content plane, which does not dispense with the gradations of the expression plane.