Labirintos da razão: mise-en-scène e discurso no primeiro cinema de Stanley Kubrick

• Ano de defesa: 2013
• Autor(a) principal: Rafael Luiz Ciccarini Nunes
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Linguagem cinematográfica; Estética clássica; Cinema moderno; Estratégias narrativas; Realismo; Mise-en-scène; Formalismo; Critica cinematografica; Kubrick, Stanley , 1928-1999; Cinema
• Link de acesso: http://hdl.handle.net/1843/EBAC-A4FKSB

This thesis proposes a present reflection concerning Stanley Kubrick´s cinema, from an analytical-theorical immersion about his initial career period, between the 1950´s (from his firsts short-movies until his feature Paths of Glory, 1957), in a way to reveal how, from the begining, a radical search for originality is undertaken, resulting in a deep depuration and control of the narrative and mise-en-scène, besides it also points important formal matrices. We sought to study Kubrick´s cinematographical construction, based on his dense dialectical movements between tradition and modernity, as well as the realistic(Bazin) and formalist (Eisenstein) currents. We checked, since this initial phase, a clear course so that the main concerns can be carved, as well as Stanley Kubrick´s inquiries and ideas about the world, the man and the cinema itself, through elements that would be decisive to his later work, that is substantially addressed more than the period encircled bythis thesis. If the strong sensorial dimentions of his work are usually attributed to his lated movies, we notice that, since before, his work was made by a mature and deeply conscious cinematographic construction.