Não se filma o mesmo quintal duas vezes: abordagens espaciais nos filmes de André Novais Oliveira

• Ano de defesa: 2021
• Autor(a) principal: Brasileiro, Samuel Alves Moreira
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: André Novais Oliveira; Espaço cinematográfico; Paisagem; Casa; Cidade
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/61858

The films directed by André Novais Oliveira have stood out in contemporary brazilian cinematography for the unique look they cast on the city of Contagem, Minas Gerais, and on his family in a scenic game that blurs the boundaries between documentary and fictional regimes. The present research investigates how film direction can be thought of from spatial approaches (GAUDIN, 2015) through an analysis of the processes and aesthetic choices of André Novais Oliveira. Inspired by Katherine Grant's film-essay research (2012, 2014, 2016) in dialogue with the work of filmmaker Harun Farocki's “Parallel I-IV” (2012) series, we develop a methodology of film analysis from the creation of audiovisual essays. The method consists in a parallel montage of selected scenes from the films in the research corpus: “Ghosts” (2010), “Sunday” (2011), “About a Month” (2013), “She Comes Back on Thursday” (2014), “Backyard” (2015) and “Long Way Home” (2018). This analysis tool made it possible to investigate the similarities, differences and spatial repetitions in Novais Oliveira's films. In each chapter, we discuss a concept of space - the landscape (LEFEBVRE, PRYSTHON, PEIXOTO, CHAUVIN, CAUQUELIN), the house (GOETZ, LIMA, BACHELARD), and the city (COMOLLI, SODRÉ, LEPECKI) - in relation to staging in order to unfold the conception of spatial approach and the way it institutes distinct aesthetic regimes. How is landscape constructed in André Novais Oliveira's films? How can we understand the house as a space of creation between inhabiting and staging? In what way can we think of the city as a choreographic space?