O papel da cenografia na obra de Federico Fellini: Importância e significados do espaço cênico em Julieta dos espíritos eSatyricon

• Ano de defesa: 2007
• Autor(a) principal: Eduardo Andrade dos Santos
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Estúdio Cinematográfico; Cinecittà; Federico Fellini; Cinema; Cenografia; Fellini, Federico, 1920-1993 Dolce Vita; Diretores e produtores de cinema Itália; Fellini, Federico, 1920-1993 Satyricon; Fellini, Federico, 1920-1993 Julieta dos Espíritos; Estudios de cinema
• Link de acesso: http://hdl.handle.net/1843/JSSS-7WLH26

The aim of this research is to study the scenic apparatus as an active element in the narrative discourse and as an essential element in the image construction process of the italian director Federico Fellini. The first chapter focuses on La dolce Vita (1960) as the turning point in thedirectors style evolution, when Fellini starts to use the studio as one of the main tools in the construction of his singular aesthetics. The second chapter presents a general analysis of Fellinis cinematographic style, through the observation of different aspects in his personality and work. The third chapter presents an analysis of the aesthetic format of Giulietta deggli spiriti (1965), focusing on the set element as an active vector in the narrative discourse. The fourth chapter analyses the aesthetic format of Satyricon (1969), underlining the pictorial character of its images and the importance of the scenic device in the visual composition of the film.