Max Ophuls, mestre de cerimônias: mise en scène reflexiva em La ronde e Lola Montès
| Ano de defesa: | 2015 |
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| Autor(a) principal: | |
| Orientador(a): | |
| Banca de defesa: | |
| Tipo de documento: | Dissertação |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Federal de Minas Gerais
UFMG |
| Programa de Pós-Graduação: |
Não Informado pela instituição
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| Departamento: |
Não Informado pela instituição
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| País: |
Não Informado pela instituição
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| Palavras-chave em Português: | |
| Link de acesso: | http://hdl.handle.net/1843/EBAC-A4BFR5 |
Resumo: | This research investigates the mise en scène organization in two features of German filmmaker Max Ophuls, La ronde (1950) and Lola Montès (1955), which are made of singular reflexive speeches. At first, it tries to put the directors work in relation to some theories of modern cinema and to other artistic manifestations, such as theater, circus orBaroque aesthetics. The approach focuses on those elements related to artistic visuality, in order to think about its influences on the film medium. Based on this, the film analysis focus on scenographic constructions. Each one in its own way, both films make use of the mise en scène as a fundamentally reflexive apparatus, capable of questioning the limits ofimage and to bring together, on screen, ideas and sensibilities related to modern world and cinema. |