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Abstract
Our aim is to show that the literary convention (renowned midday topos) is translatable to the text of a moving image using the grammatical code and sign constructs of film text (Wollen, 1984) present in Virginia Woolf 's novel (Mrs. Dalloway-1996 1). There, the convention in question is used in its most classical sense, in writing, and in the literary use of space, light, colours and movement. Adapted from Virginia Woolf 's novel, Michael Cunningham's text The Hours (1998) maintains the classicism of the convention. However, the film The Hours (2002) suggests the affirmation of this same classicism but reverses the terms: underlying danger is transformed into a possibility of salvation and auspicious events, of the preservation of the soul, even if through death. Similar to the two literary texts on which it is based, the film employs the same elements (space, light, colours, and movement) to which we might add the scenography design (framework by opposing interior/women and exterior/men), framing emphasizing the field and the off-field, the mise-en-scène, and the soundtrack.
Descrição
Palavras-chave
Virginia Woolf film analysis female gaze
Contexto Educativo
Citação
Lousada, I., Sousa, V. (2021) The hours: the (fe)male gaze?. Dramatic architectures. theatre and performing arts in motion. CEAA/ESAP-CESAP, Porto, p.145-156.
Editora
Escola Superior Artística do Porto (ESAP)