| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 222.87 KB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
O presente ensaio aborda o filme Hamlet (2000, Michael Almereyda, EUA) como uma
rescrita audiovisual da peça homónima de William Shakespeare. Neste caso, o campo
semântico visão/olhar encontra a sua natural expressão num discurso metacinematográfico,
envolvendo uma relação entre as instâncias autoral e espetatorial, mediadas pelo
filme. Partindo de teorias fenomenológicas, psicossemióticas, psicanalíticas e narratológicas
– congregadas num todo versando a natureza ótica e escópica do cinema - o artigo
analisa a dimensão espetatorial contida na peça de Shakespeare (e mais ainda no filme de
Almereyda), a qual funciona sempre em prol da manutenção do espetáculo, o que implica
ser-se visto a ver e não apenas olhar e/ou ser-se olhado.
Abstract - This essay verses the film Hamlet (2000, Michael Almereyda, USA) as an audiovisual rewrite of the play by William Shakespeare. In this particular case the semantic field of vision/looking finds its natural expression in a meta-cinematic discourse which involves the relationship between the authorial and spectatorial roles, mediated by the film. Based on phenomenological, pycho-semiotic, psychoanalytical and narratological theories – all brought together in a whole about the optical and scopic nature of film – the article analyses the spectatorial dimension of the play (and even more so of the film), which works in favor of the maintenance of spectacle by means of being seen looking at something, rather than looking or being seen.
Abstract - This essay verses the film Hamlet (2000, Michael Almereyda, USA) as an audiovisual rewrite of the play by William Shakespeare. In this particular case the semantic field of vision/looking finds its natural expression in a meta-cinematic discourse which involves the relationship between the authorial and spectatorial roles, mediated by the film. Based on phenomenological, pycho-semiotic, psychoanalytical and narratological theories – all brought together in a whole about the optical and scopic nature of film – the article analyses the spectatorial dimension of the play (and even more so of the film), which works in favor of the maintenance of spectacle by means of being seen looking at something, rather than looking or being seen.
Description
Keywords
Cinema Adaptação cinematográfica Metacinema Espectador Fenomenologia Hamlet