Reflexividade no cinema documentário: uma análise do filme Interior. Leather Bar.

• Ano de defesa: 2020
• Autor(a) principal: França, Esmejoano Lincol da Silva de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Comunicação; Programa de Pós-Graduação em Comunicação; UFPB
• Palavras-chave em Português: Cinema; Documentário; Reflexividade; Documentary; Reflexivity; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/22675

The aim of the dissertation we present is to analyze how happen the Reflective gestures of the documentary Interior. Leather bar. (2013), a feature film directed by James Franco and Travis Mathews that tries to reconstruct censored scenes from the movie Cruising (1980), by William Friedkin. Based on the production of several authors who theorize on the subject, having cinema and related areas as their field of study (BERNARDO, 2010; HUTCHEON, 2013; STAM 1981; etc), first, we infer the existence of two basic modalities of Reflexivity in a documentary film (AUMONT and MARIE, 2018) – the cinematographic Reflexivity, produced in a self-referential way by the film, using the codes common to all films; and the filmic Reflexivity, produced through an internal or external dialogism with other codes and/or other textual film systems. Second, we suggest qualifying the use of Reflexivity in Interior. Leather bar., proposing Characteristics capable of defining the self-referring gestures that make up our object of study: the Metalinguistic (1) and Revering (2), Characteristics, indicating the filmic processes that expose the codic and machinic apparatus of cinema, with the objective of revealing, showing or enshrining the almost always implicit presence of the equipment and the crew that help to compose a given product, as well pay a tribute to the cinema through its own text; the Creative Characteristic (3), designating the textual developments to which a given cinematographic work uses to generate instigating narratives within itself; finally, the Analytical (4) and the Demystifying (5) Characteristics, determining the critical use of Reflexivity, so that the film can perspective itself through its social actors. We use voice (NICHOLS, 2010) and staging (PUCCINI, 2012; RAMOS, 2012) as categories of analysis that illustrate such reflective processes, guided by the methodological strategies of Textual film analysis (METZ, 1980; AUMONT and MARIE, 2004).