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Authors
Advisor(s)
Abstract(s)
Em Primavera Tardia, a personagem de Noriko, representada por Setsuko Hara, está em idade
de casar, mas continua a viver com o pai. O processo de separação dos dois é a essência do
filme. Esta premissa foi sendo repetida pelo autor com pequenas variações, atingindo o seu
expoente máximo na obra de 1949.
Esta investigação pretende inquirir como é que Yasujirō Ozu consegue uma representação tão
tangível de uma mulher entre tempos, e como o realizador encontra figuração para a forma
como é que ela muda ao longo da narrativa.
Na conclusão, a dissertação procura definir os recursos cinematográficos do cineasta que
melhor se articulam com o projeto em desenvolvimento da mestranda, que pretende abordar os
afetos e as violências de estar, simultaneamente, juntos e separados no tempo.
ABSTRACT - In Late Spring, Noriko’s character, played by Setsuko Hara, is tardily coming of age to get married, but she continues to live with her father. Their process of separation is the essence of the film. This premise was repeated by the author with small variations, attaining is greatest expression in the 1949 oeuvre. This investigation intends to inquire to how Yasujirō Ozu succeeds in depicting such a tangible portrayal of a woman in between times, and to how the director materializes the way she changes along the narrative. In the conclusion, the dissertation seeks to determine the director’s filmmaking resources that best articulate with the developing project of the student, which focuses on how to address the affections and violence of being, simultaneously, together and apart in time.
ABSTRACT - In Late Spring, Noriko’s character, played by Setsuko Hara, is tardily coming of age to get married, but she continues to live with her father. Their process of separation is the essence of the film. This premise was repeated by the author with small variations, attaining is greatest expression in the 1949 oeuvre. This investigation intends to inquire to how Yasujirō Ozu succeeds in depicting such a tangible portrayal of a woman in between times, and to how the director materializes the way she changes along the narrative. In the conclusion, the dissertation seeks to determine the director’s filmmaking resources that best articulate with the developing project of the student, which focuses on how to address the affections and violence of being, simultaneously, together and apart in time.
Description
Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos
necessários à obtenção do grau de Mestre em Desenvolvimento de Projeto Cinematográfico –
especialização em Dramaturgia e Realização.
Keywords
Família Yasujirō Ozu Tradição Setsuko Hara Tempo Family Tradition Time
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema