A intertextualidade entre o cinema e a literatura de cordel: a análise do “cinema de cordel” no filme a luneta do tempo, de Alceu Valença

• Ano de defesa: 2021
• Autor(a) principal: Oliveira, Roberto Matheus Cordeiro Vanderlei de
• Orientador(a): Silva, Romero Júnior Venâncio
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Programa de Pós-Graduação: Pós-Graduação Interdisciplinar em Cinema
• Palavras-chave em Português: Cinema; Cinema brasileiro; Intertextualidade; Literatura de cordel; Crítica e interpretação; Cinema de cordel; Alceu Valença; Glauber Rocha
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
• Link de acesso: https://ri.ufs.br/jspui/handle/riufs/14361

The goal of this research is to demonstrate how cordel literature can be transmuted to cinematographic language, analyzing the intertextual relations between the cordel aesthetics and some works of national cinema. For that, we first went through fundamental aspects of the history and literary forms of the cordel. Then, we investigated the referred intertextuality in the work of the filmmaker Glauber Rocha, outlining the category "cordel cinema" based on the director's experiences in the movies Black God, White Devil (1964) and Antonio das Mortes (1969), two important milestones of Cinema Novo. Finally, in the light of the Glauberian paradigm, we analyzed the “cordel cinema” in the film The Telescope of Time (2014), by Alceu Valença, proceeding with its decoupage in order to investigate how the poetic and literary forms of the cordel influence it from diegesis to cinematographic discourse. Thus, we seek to demonstrate how in this intertextual phenomenon the cordel can emerge as a narrative tool in cinema, marking the conception of the script, of monologues and dialogues between characters and of the mise-en-scene, in addition to addressing the viewer, sharpening his perception as a listener. In short, the cordel goes to the cinema and mixes with it to built particular film aesthetics, from songs to forms of representation. Understanding the intertextuality of this process, and how it can be enhanced in contemporary Brazilian cinema, is one of the main motivations of this project.