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Abstract(s)
Tal como os restantes meios de difusão de informação e comunicação, o cinema – sendo um objeto de média - tem sido alvo de uma evolução, de uma mutação constante que tem servido como matéria de análise aos mais variados autores e investigadores, como Jane Roscoe e Craig Hight (2001), Bill Nichols (2001), Alisa Lebow (2016), Fátima Chinita (2013) ou mesmo Alexandra Juhasz e Jesse Lerner (2006), por exemplo. Nesse sentido, a pertinência do seu estudo e consequente discussão permanece atual, sobretudo numa época onde a vasta produção de conteúdos audiovisuais se tornou uma realidade. Desse modo, a realização desta dissertação vai ao encontro de uma das suas formas evolutivas: o mockumentary. Um termo que ganhou notoriedade nas produções norte-americanas a partir da década de 80, precisamente através de This is Spinal Tap (1984), e que se mantém atual pelo facto desta fórmula de produção continuar a ser bastante utilizada em filmes e comédias televisivas que nos chegam do outro lado do Atlântico – como The Office (US, 2005-2013), Parks and Recreation (2009-2015) ou mesmo Modern Family (2009-…).
Precisamente por nos encontrarmos num contexto onde esta vertente fílmica é cada vez mais consumida, importa perceber a sua definição, conceito e características envolventes, por isso, numa primeira instância, esta investigação procura encontrar respostas a estas questões através de uma fundamentação teórica realizada a partir de um de um levantamento bibliográfico extenso. Uma vez compreendida a dimensão desta problemática na sua totalidade, torna-se indispensável fazer uma análise completa à obra de Rob Reiner, This is Spinal Tap (1984), considerado como um filme de culto e um dos principais responsáveis pela popularização e solidificação da vertente humorística inerente a este subgénero cinematográfico. Reside neste aspeto o objetivo principal deste trabalho, por um lado, compreender realmente como se evidenciam as especificidades de um produto audiovisual desta natureza e por outro, perceber de que forma o humor presente em criações audiovisuais desta natureza se apropria das particularidades documentais, resultando numa simbiose entre a realidade e a ficção.
ABSTRACT: As with the several other ways of diffusing information and communication, cinema – being a media object of study – has been evolving from a continuous shifting that is now perceived as a subject of analysis to authors and investigators in the field like Jane Roscoe and Craig Hight (2001), Bill Nichols (2001), Alisa Lebow (2016), Fátima Chinita (2013) or Alexandra Juhasz e Jesse Lerner (2006), for exemple. In this sense, the study and further discussion of cinema as a subject is crucial as it is always changing, creating another paradigms to comprehend in a time where there is an infinite audiovisual content creation. In today’s reality it becomes important to reflect upon the techniques and narratives, the concept that triggers the creation. This dissertation tries to find and explore the evolution paths of the mockumentary. A term that has gained popularity in American productions since the 80’s, mainly because of This is Spinal Tap (1984), that continues to be present in the actual narrative of content – it’s production formula is still used on movies and comedies, the sitcoms that appear from the other side of the Atlantic like: The Office (US, 2005-2013), Parks and Recreation (2009-2015) or Modern Family (2009-…). Precisely because of the context of the cinematography atmosphere, where so much content is consumed at the speed of sound, it is crucial for us to get a clear vision and sight of what is ahead. It is important to understand its definition, the concept and characteristics. In the first phase of the analysis, this investigation search’s answers to questions using a theoretical foundation conducted as from an extensive bibliography evaluation. Once understood the dimension problematics in its totality, it is indispensable to make a complete analysis to Rob Reiner’s full work, This is Spinal Tap (1984), seen as a cult movie and one of the main reasons to the consolidation of the humorous perspetive inherent to this cinematography sub genre. In this project there is a general and fundamental aspect to really understand the specificities of the audiovisual product and it’s kind, as well as to get to know contexts were humor is present in audiovisual productions of its kind that appropriated the documentary particularities, resulting a symbiosis where reality meets fiction.
ABSTRACT: As with the several other ways of diffusing information and communication, cinema – being a media object of study – has been evolving from a continuous shifting that is now perceived as a subject of analysis to authors and investigators in the field like Jane Roscoe and Craig Hight (2001), Bill Nichols (2001), Alisa Lebow (2016), Fátima Chinita (2013) or Alexandra Juhasz e Jesse Lerner (2006), for exemple. In this sense, the study and further discussion of cinema as a subject is crucial as it is always changing, creating another paradigms to comprehend in a time where there is an infinite audiovisual content creation. In today’s reality it becomes important to reflect upon the techniques and narratives, the concept that triggers the creation. This dissertation tries to find and explore the evolution paths of the mockumentary. A term that has gained popularity in American productions since the 80’s, mainly because of This is Spinal Tap (1984), that continues to be present in the actual narrative of content – it’s production formula is still used on movies and comedies, the sitcoms that appear from the other side of the Atlantic like: The Office (US, 2005-2013), Parks and Recreation (2009-2015) or Modern Family (2009-…). Precisely because of the context of the cinematography atmosphere, where so much content is consumed at the speed of sound, it is crucial for us to get a clear vision and sight of what is ahead. It is important to understand its definition, the concept and characteristics. In the first phase of the analysis, this investigation search’s answers to questions using a theoretical foundation conducted as from an extensive bibliography evaluation. Once understood the dimension problematics in its totality, it is indispensable to make a complete analysis to Rob Reiner’s full work, This is Spinal Tap (1984), seen as a cult movie and one of the main reasons to the consolidation of the humorous perspetive inherent to this cinematography sub genre. In this project there is a general and fundamental aspect to really understand the specificities of the audiovisual product and it’s kind, as well as to get to know contexts were humor is present in audiovisual productions of its kind that appropriated the documentary particularities, resulting a symbiosis where reality meets fiction.
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
Audiovisual Produção audiovisual Cinema Humor Realidade Ficção Mockumentary Film editing Film Reality Fiction This is Spinal Tap
Citation
Gama, J.L.G.B. (2018). Mockumentary: A arte da realidade ficcionada. Dissertação de mestrado. IPL, Escola Superior de Comunicação Social, Lisboa, Portugal.
Publisher
Instituto Politécnico de Lisboa, Escola Superior de Comunicação Social