O cinema brasileiro contemporâneo e a encenação: um estudo dos filmes Pacific, Os residentes e Os monstros

• Ano de defesa: 2012
• Autor(a) principal: Roberto Ribeiro Miranda Cotta
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Cinema brasileiro; Pacific; Encenação; Os monstros; Os residentes; Movimento (Encenação); Cinema Brasil; Critica cinematografica; Os residentes (Filme); Pacific (Filme); Os monstros (Filme)
• Link de acesso: http://hdl.handle.net/1843/JSSS-93UEUK

The mise-en-scène - or staging - has long been one of the most studied in cinema, especially between the 1940s and 1950s, when the term has come to occupy a considerable space in the French criticism. However, over the years, the discussion of mise-en-scène was being redefined movies as both in the theoretical and critical, to the extent that other issues cinematographic now get more attention. In the 2000s, the theme of the staging was further analyzed with enough force on the critical scene/international academic, which deserves to be highlighted by recent publications of scholars like Aumont (2006) and Bordwell (2008). Given the aforementioned context, the purpose of this thesis is to investigate some of the ways of staging articulated in contemporary Brazilian cinema. The body of research is composed of three films: Pacific (2009), by Marcelo Pedroso; The Residents (2010), by Tiago Mata Machado; and The Monsters (2011), by Luiz Pretti, Ricardo Pretti, Guto Parente and Pedro Diógenes. The selected films include a cutout on film production held in three major axes in the contemporary scene, located in the cities of Recife, Belo Horizonte and Fortaleza, respectively. To facilitate such discussions, the text is divided into two chapters, and the final remarks. In the first part, we present some theoretical notes related to the concept of staging and its variants, as well as discussing issues on the contemporary Brazilian cinema. The second part presents the analysis of specific sequences of the films selected based on their presence and articulation of mise-en-scène.