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- O fio de Ariadne: as narrativas labirínticas de Christopher NolanPublication . Chinita, FátimaO cérebro humano possui a capacidade de efabular e utiliza-a na sua fértil vida psíquica, tanto a dormir (em sonhos), como acordado (em fantasias); quer de modo saudável e catártico, quer de modo patológico e compulsivo. Como nem todos os seres humanos são artistas, muitas destas “criações” efabulatórias não são partilhadas nem logram aumentar o espólio cultural das nações. No entanto, alguns dos efabuladores espraiam a sua verve criativa em produções que partilham com outrem. Deste modo a efabulação natural chega à arte, de que o cinema é uma via possível. As obras cinematográficas de narrativa assumidamente não linear constituem-se como um desafio de reconstrução para o vidente, apelando à sua capacidade de descodificação de um mistério subjacente ao enredo (o ato de storytelling) mais do que à(s) história(s) narrada(s). Inicia-se assim uma interação entre autor e recetor, sendo justamente nesse relacionamento que reside a fruição da obra. Com fortes bases metanarrativas, em que o objetivo discursivo dos filmes enquanto arte reside na exposição das técnicas de construção, com o intuito de realçar o anti ilusionismo e toda a dimensão falsificante da narrativa que Gilles Deleuze (1985), em grande parte, atribui à manipulação do tempo, este artigo propõe fazer o mapeamento temporal do filme Following, de Christopher Nolan (1998, UK). Assim se pretende enaltecer a estratégia de ambiguidade adotada, ao mesmo tempo que se descobre, por trás de uma aparente dimensão aleatória, uma sólida arquitetura de construção que convida o espetador a tomar parte num jogo narrativo.
- Metanarrativa cinematográfica: a ficcionalização como discurso autoralPublication . Chinita, FátimaA metanarrativa cinematográfica, que começa por radicar num ímpeto fundamentalmente humano — a tendência para a efabulação — transforma-se num discurso autoral por via da atenção prestada ao ato enunciativo em si mesmo, eventualmente ligado ao enunciado que o motiva. Ao evidenciar uma atividade de narração que se centra sobre os seus fundamentos narrativos (significado do prefixo “meta”), um filme ficcional enuncia-se a si próprio como artefacto emanado de uma mente criativa (seja ela a do realizador e/ou do argumentista) e tendo o storytelling como temática. O discurso autoral sobre esta matéria pode, em nossa opinião, dividir-se em três grandes categorias, consoante a participação mais ou menos explícita que nelas tem o “enunciadormor”, normalmente referido como “autor implícito”: metanarrativas intradiegéticas, quando a voz narrativa é predominantemente das personagens; metanarrativas extradiegéticas, quando a articulação de histórias é organizada de forma assumida pelo próprio autor; narrativas híbridas, quando os filmes são autorreflexivos e dotados de mise en abyme perfeita ou simbiótica, espelhando ao nível da diegese o trabalho enunciativo operado fora dela, no ato constitutivo. Formalmente situado entre o encaixamento e a aporia, o cinema metanarrativo comprova que na arte contemporânea a forma é já parte do seu próprio conteúdo.
- Multi-strand narrative structures: a filmic game of multiple playersPublication . Chinita, FátimaABSTRACT - Some films are multi-plot narratives operating as a network of related events played out by a large number of core characters. Since these characters are all protagonists in their own right, this results in a complex form of storytelling that can be used for dramatic purposes as well as for comedy. In both cases, however, there is a sort of play at stake here because the screenwriter is forced to mingle them all in a single film, thus stressing the storytelling over the story told. Enter the director, centre stage. The story on paper, i.e. the script, has to gain another life as characters are portrayed by actors and the game of shooting begins. Here the director, by using certain filmic techniques that reinforce his/her own role as puppet master, adds another layer of narration to the film, thus further stressing the storytelling and its playful, although not necessarily joyful, nature. In the film Happy Endings - written and directed by Don Roos, 2005, USA - the scrambling and re-scrambling of character’s lives in one single multiple and complex plot, via the art of the filmmakers and the craft of the actors invested in their roles, reveals itself to be not only playful but joyful as well. The film is a comedy where the events are doubly enunciated: as actions portrayed by people, and as text written large over the image as the actions evolve. Thus, the director writes himself onscreen as an artist just as is he is literally writing his characters bios and convolutions. What a playful and thoroughly self-conscious storytelling this is, reminiscent of some of Woody Allen’s masterpieces.
- Os (in)sofismáveis caminhos do storytelling : Woody Allen e o documentário ficcionadoPublication . Chinita, FátimaABSTRACT: Between pure documentary and pure fiction there are, more and more, a reasonable number of cinematic alternatives that convey a dimension of non-reality. Between the pointedly factual discourse and the irrational belief in an entirely narrative world, there intervenes an informed conviction in a truthful but nonexistent universe, in which the formal enunciation sells an image of objectivity. In a path that leads us from the forms and contents of reflexive and performative documentaries, according to Bill Nichols, and ends up in fake documentary itself, we will have the opportunity to stress the filmic construction and its inherent narrative purpose, be it a fictional story or the creator himself as character (others would say subject) of the cinematic construct. In a boomerang kind of logic, the more the objects direct us to a referent, the more they restore us a creative/authorial reference and, along with it, the narrative idea that instills it. In Woody Allen’s case, this storytelling manifests itself in the fake documentary genre, which works as if it is the reality, only to better manifest the sole reality that interests the director: that of the metacinema, or the cinema as self-referencial reality. The practical examples will be derived from the following films: Take the Money and Run (1969) e Husbands and Wives (1992).
- O metacinema norte-americano e o storytelling: de Orson Welles a David LynchPublication . Chinita, FátimaABSTRACT: The American metacinema which, by tradition, is narrative but extremely formulaic favours the story above the telling. No man contributed more to alter this state of affairs than Orson Welles, whose cinematic practice exalted the filmic enunciation and linked it more explicitly to the narrative intentions of the creator, making it obvious that metanarrative is synonymous with metacinema. With Citizen Kane (1941), in particular, the cinema was made more disnarrative, as meant by French writer/director Alain Robbe–Grillet, well ahead of Modernism. The fragmented narration, the temporal convolutions, a tendency for paradox and the interpretative obstacles all come together to anticipate the serial practice of David Lynch in his last four features. Structuring the films in segments which constitute different but complementary versions of the same events, Lynch manages to express the director’s enunciation along with the narration of the characters, reinforcing the role of the telling in the midst of the story. In INLAND EMPIRE (2006) the use of mise-en-abyme as a way of duplicating stories and tellers further increases the objective and complicates what is clearly the reign of the puzzle or mind-game film. In the footsteps of Welles, Lynch contributed for an outbreak of metanarrative / metacinematic crossover indie films closer to the European aesthetic practice but still very much within the American narrative tradition.