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Advisor(s)
Abstract(s)
Nas últimas décadas tem vindo a ser cada vez mais frequente o recurso, em âmbito
cinematográfico, a estruturas narrativas complexas. Os filmes que recorrem a estas
estruturas, junto com outras caraterísticas, criam no espectador alguma confusão
interpretativa, assim obrigando-o a colocar em causa a natureza do que visualiza e,
eventualmente, levando-o a rever o filme para melhor o compreender. No âmbito das
narrativas complexas, inserem-se filmes que recorrem a estruturas narrativas bifurcadas
(forking-paths narratives), que se caraterizam, entre outros aspetos, por permitir a
existência de uma matriz infinita de ações simultâneas entre si. Importa referir que os
argumentistas/realizadores, ao longo dos últimos anos, têm criado diferentes formas de
exploração das estruturas narrativas bifurcadas e têm elevado o grau de utilização estética
deste recurso, para o visionamento/consumo do público alvo que aprecia a sua
descodificação. Neste contexto, a presente dissertação pretende refletir acerca das
narrativas cinematográficas complexas estruturadas segundo bifurcações narrativas
(eventualmente aliadas a outros recursos). Pretende-se pensar sobre o modo como são
utilizados recursos estéticos em filmes estruturados em torno das bifurcações narrativas
para cativar o espectador, e até que limite é possível aumentar o grau de complexidade
das bifurcações, sem comprometer a compreensão do espectador, ao mesmo tempo,
mantendo um certo equilíbrio entre o enigmático e o inteligível. Em paralelo, pretende-se
apoiar os argumentistas e/ou realizadores na criação de novas obras cinematográficas
que utilizem estes recursos narrativos e, ao mesmo tempo, o de fornecer a eventuais
espectadores pistas interpretativas que orientem o visionamento. Para tal fim, analisar-se-á
um corpus fílmico composto pelas obras: Lola Rennt (Corre, Lola, Corre, Tom Tykwer,
1998); Sliding Doors (Instantes Decisivos, Peter Howitt, 1998); The Butterfly Effect (O
Efeito Borboleta, Eric Bress, J. Mackye Gruber, 2004); Mr. Nobody (Sr. Ninguém, Jaco
Van Dormael, 2009).
ABSTRACT - Over the past few decades, films have been resorting increasingly to complex narrative structures. This and other characteristics of such films create some interpretative confusion in viewers, making them question the nature of what they see and perhaps leading them to see it again in order to understand it better. Among films using complex narratives, some resort to forking-paths narrative structures, chiefly distinguished for permitting the existence of a matrix of simultaneous intertwining actions. In recent years, scriptwriters and directors have created different forms of exploring forking-paths narrative structures and raised the degree to which they make aesthetic use of this resource, targetting viewers/consumers that enjoy decoding such narratives. In this context, the aim of the present dissertation is to reflect on complex film narratives structured on forking-paths narratives (possibly together with other resources). The intention is to reflect on how aesthetic resources are employed in films that are structured around forking-paths narratives in order to fascinate the viewer, and to what extent it is possible to increase the degree of complexity of such forking paths without jeopardising the viewer’s comprehension, managing to maintain some balance between the enigmatic and the intelligible. Additionally, the intention is to offer support to scriptwriters and/or directors in creating new film works employing such narrative resources, while providing interpretative clues to guide possible spectators. To that end, the following works will be analyzed: Lola Rennt (Portuguese title Corre, Lola, Corre, Tom Tykwer, 1998); Sliding Doors (Instantes Decisivos, Peter Howitt, 1998); The Butterfly Effect (O Efeito Borboleta, Eric Bress, J. Mackye Gruber, 2004); Mr. Nobody (Sr. Ninguém, Jaco Van Dormael, 2009).
ABSTRACT - Over the past few decades, films have been resorting increasingly to complex narrative structures. This and other characteristics of such films create some interpretative confusion in viewers, making them question the nature of what they see and perhaps leading them to see it again in order to understand it better. Among films using complex narratives, some resort to forking-paths narrative structures, chiefly distinguished for permitting the existence of a matrix of simultaneous intertwining actions. In recent years, scriptwriters and directors have created different forms of exploring forking-paths narrative structures and raised the degree to which they make aesthetic use of this resource, targetting viewers/consumers that enjoy decoding such narratives. In this context, the aim of the present dissertation is to reflect on complex film narratives structured on forking-paths narratives (possibly together with other resources). The intention is to reflect on how aesthetic resources are employed in films that are structured around forking-paths narratives in order to fascinate the viewer, and to what extent it is possible to increase the degree of complexity of such forking paths without jeopardising the viewer’s comprehension, managing to maintain some balance between the enigmatic and the intelligible. Additionally, the intention is to offer support to scriptwriters and/or directors in creating new film works employing such narrative resources, while providing interpretative clues to guide possible spectators. To that end, the following works will be analyzed: Lola Rennt (Portuguese title Corre, Lola, Corre, Tom Tykwer, 1998); Sliding Doors (Instantes Decisivos, Peter Howitt, 1998); The Butterfly Effect (O Efeito Borboleta, Eric Bress, J. Mackye Gruber, 2004); Mr. Nobody (Sr. Ninguém, Jaco Van Dormael, 2009).
Description
Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Mestrado em Desenvolvimento de Projecto Cinematográfico - especialização em Narrativas Cinematográficas
Keywords
Estruturas narrativas cinematográficas Narrativas complexas Narrativas bifurcadas Limites das bifurcações narrativas Film narrative structures Complex narratives Forking-paths narratives Limits of forking-paths narratives
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema