A direção cinematográfica como selo autoral: Edgar Wright
| dc.contributor.advisor | Rizolli, Marcos | |
| dc.contributor.advisor1Lattes | http://lattes.cnpq.br/4808339542698874 | por |
| dc.contributor.author | Abrunhosa, Lucas da Costa Sá | |
| dc.creator.Lattes | http://lattes.cnpq.br/3868157252057867 | por |
| dc.date.accessioned | 2021-12-18T21:38:45Z | |
| dc.date.available | 2021-12-18T21:38:45Z | |
| dc.date.issued | 2021-02-03 | |
| dc.description.abstract | This master's dissertation aims to comment and analyze the formation of the cinematographic signature, focusing on a specific director and his most recent work. It brings in its beginning a brief history of cinema so that we can understand the entire context of the formation of the language of cinema and how it has evolved until today. In this work, I signal how the use of cinematographic language opened a space for people to create their stories and share their way of seeing the world. We will also see that in order to build a signature in the cinema, it is necessary to have a team that supports and understands the vision that the director wants to transmit to the public. From sound, lighting, makeup, costumes and other sectors. A film is not produced only from a single point of view. All the work of a team is responsible for giving the director the ideal support to manifest the imaginary in a representation of reality. And this representation of reality communicates with the public, who will receive and absorb what is happening on the screen. After seeing the development of cinema and, who is responsible for transforming the script's words into audiovisual action, we set out to get to know the director selected for this dissertation better. We understand a bit of his history and the team he works with to sign his film signature as a director, which started in Europe and will blossom in Hollywood, winning prizes like the Oscars. By understanding the origin and trajectory of the selected director, we are introduced to the object of this dissertation, which is the most recent film of his career. Analyzing this film, we can see the purposeful use of elements that evidence the director's semiotic thinking in the construction of the scenes and narratives present in the work. From there, we started a series of semiotic analyzes to try to understand the director's intention in making the purposeful use of direction as a semiotic tool to dialogue with the public. As we progress in the dissertation, we can see from the analysis, that part of what makes up the director's signature, is the care in leaving each element of the scene in its proper place and not giving space for chance as a script tool in his scenes. From that point on, we can see that the film that the director produced, has semiotics thought purposefully so that music, light, colors, lines and even the gestural component are thought out for the development of the film. Finally, as a way of facilitating the visualization of how the scenes are constructed in this film, I selected three scenes that most clearly bear the director's signature. The analyzes are made minute by minute, to give us the opportunity to calmly see where each element is and how they dialogue with each other for the operation of the scenes. And, in my final remarks, I give a brief overview of all the trajectory described here, gathering the information gained in the research and the way they became this master's dissertation presented here. | eng |
| dc.description.sponsorship | Coordenação de Aperfeiçoamento de Pessoal de Nível Superior | por |
| dc.format | application/pdf | * |
| dc.identifier.citation | ABRUNHOSA, Lucas da Costa Sá. A direção cinematográfica como selo autoral: Edgar Wright. 2020. 97 f. Dissertação (Educação, Arte e História da Cultura) - Universidade Presbiteriana Mackenzie, São Paulo, 2020. | por |
| dc.identifier.uri | https://dspace.mackenzie.br/handle/10899/28550 | |
| dc.keywords | cinema | eng |
| dc.keywords | semiotics | eng |
| dc.keywords | Hollywood | eng |
| dc.keywords | music | eng |
| dc.keywords | colors | eng |
| dc.language | por | por |
| dc.publisher | Universidade Presbiteriana Mackenzie | por |
| dc.rights | Acesso Aberto | por |
| dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/4.0/ | |
| dc.subject | cinema | por |
| dc.subject | semiótica | por |
| dc.subject | Hollywood | por |
| dc.subject | música | por |
| dc.subject | cores | por |
| dc.subject.cnpq | CNPQ::LINGUISTICA, LETRAS E ARTES | por |
| dc.title | A direção cinematográfica como selo autoral: Edgar Wright | por |
| dc.type | Dissertação | por |
| local.contributor.board1 | Silveira, Isabel Orestes | |
| local.contributor.board2 | Oliveira, Pelópidas Cypriano de | |
| local.publisher.country | Brasil | por |
| local.publisher.department | Centro de Educação, Filosofia e Teologia (CEFT) | por |
| local.publisher.initials | UPM | por |
| local.publisher.program | Educação, Arte e História da Cultura | por |