Olhar enquadrado : a paisagem como regime estético representacional (análise do filme Uma viagem extraordinária)

• Ano de defesa: 2017
• Autor(a) principal: Aranha, Lorena Marinho
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Espírito Santo; BR; Mestrado em Geografia; UFES; Programa de Pós-Graduação em Geografia
• Palavras-chave em Português: Landscape; Representative aesthetic regimen; Outer; Inner; Paisagem; Regime estético representativo; Exterior; Interior; Paisagens no cinema; Cinema - Estética; Geografia; 91
• Link de acesso: http://repositorio.ufes.br/handle/10/9332

The contemporary geography has been getting closer to the discussion about images and thinking how they influence our narratives about places. Doreen Massey (2012) is one of the main authors in which we base ourselves to question the spatial politic of images in the contemporaneity, more intensely when she understand the images as a privileged way to produce narratives, participating in the process of “visual education” (MASSEY, 2012). In this motto, it’s of our interest to discuss how the concept of landscape in geography has established itself in an aesthetic representative regimen, in which “the equivalence between representation and spatialization can be confirmed” (MASSEY, 2012, P 116). When we think about the importance of the image to the geographic studies, we are inserted in a rising debate developed by the new cultural geography. In this interim we became interested in discussing the images of the cinema as the product of the culture that reflects – updates – a structure of dominant aesthetic representation. We discuss the concept of landscape as exteriority and as synonym of Nature, takings as reference authors such as Cauquelin (2007), Besse (2006; 2014) and Roger (2009), whose studies helped us to think the hegemonic aesthetic of the landscape represented by the outer aspects. As an outcome of these studies, and based in the works of Pessoa (1965), Queiroz Filho (2009) and Collot (2013) we are at disposal to think the landscape as a state of the soul, as belonging also to an inner dimension. For that, we analyzed the movie The Young and Prodigious T.S. Spivet, having in mind the role of the images in the profusion of imaginations about the space and in the update of certain way of understanding the landscape. The analytic procedures occurred in three moments. In the first one we typified and categorized the landscape as outer and inner, highlighting recurring elements in each one. After that, we produced an equivalence plan between the landscape (typified before) and the movie language. In the third moment, we applied this methodology in the analysis of the proposed movie, demonstrating this recurring aesthetic pattern in the exterior and inner landscapes from the movie images. We concluded pointing that this methodology allowed us to demonstrate how such elements appeal to the cinematographic language and in the representation of the concept to the geography, making evident the equivalence and the articulation of the current aesthetic.