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Authors
Advisor(s)
Abstract(s)
Mesmo sendo a cinematografia há muito considerada uma componente
fundamental do filme, o contributo do diretor de fotografia como principal responsável
pela mesma tem sido secundarizado ao longo da História do Cinema. A teoria do autor,
dominante durante várias décadas, conduziu a que fossem atribuídos ao realizador a
maioria dos aspetos estilísticos do filme.
Nos últimos anos, no entanto, o paradigma tem vindo a alterar-se e o cinema
começa a ser percecionado como uma arte colaborativa. A presente dissertação pretende
contribuir para um novo modelo a tomar lugar, em que se estuda o contributo dos
diferentes artistas no filme. Propõe-se assim a analisar diferentes formas de trabalhar de
diretores de fotografia, de modo a compreender os contornos em que o processo criativo
do diretor de fotografia pode contribuir para o filme. O estudo é realizado com recurso
aos casos de Christopher Doyle e de Roger Deakins.
ABSTRACT: Even though cinematography has long been considered a fundamental component of the film, the contribution of the director of photography as the main responsible for it has been neglected throughout the history of cinema. The author theory, dominant for several decades, led to most of the stylistic aspects of the film being attributed to the director. In recent years, however, the paradigm has been changing and cinema is beginning to be perceived as a collaborative art. This dissertation intends to contribute to a new model to take place, in which the contribution of different artists to the film is studied. Thus, it is proposed to analyze different ways of working of directors of photography, in order to understand the contours in which the creative process of the cinematographer can contribute to the film. The study is carried out using the cases of Christopher Doyle and Roger Deakins.
ABSTRACT: Even though cinematography has long been considered a fundamental component of the film, the contribution of the director of photography as the main responsible for it has been neglected throughout the history of cinema. The author theory, dominant for several decades, led to most of the stylistic aspects of the film being attributed to the director. In recent years, however, the paradigm has been changing and cinema is beginning to be perceived as a collaborative art. This dissertation intends to contribute to a new model to take place, in which the contribution of different artists to the film is studied. Thus, it is proposed to analyze different ways of working of directors of photography, in order to understand the contours in which the creative process of the cinematographer can contribute to the film. The study is carried out using the cases of Christopher Doyle and Roger Deakins.
Description
Dissertação de mestrado apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.
Keywords
Doyle, Christopher (1952- ) Deakins, Roger (1949- ) Cinematografia Diretor de fotografia Cinema Cinematography Cinematographer Director of photography
Citation
Véstias, M.S.Q. (2021). O papel do processo criativo do diretor de fotografia no filme: Os casos de Christopher Doyle e Roger Deakins. [Dissertação de mestrado, Escola Superior de Comunicação Social]. Repositório Científico do Instituto Politécnico de Lisboa. http://hdl.handle.net/10400.21/14180
Publisher
Instituto Politécnico de Lisboa, Escola Superior de Comunicação Social