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Yasujiro Ozu : ciclos de vida
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A investigação, consubstanciada nesta dissertação, sobre o realizador japonês Yasujiro Ozu
(12 de dezembro de 1903, Tóquio - 12 de dezembro de 1963), é realizada na perspetiva de
alguém que tenta fazer filmes, que pretende olhar para a obra deste realizador como matéria
de descoberta e aprendizagem. Ozu é um realizador de afetos, aquele que mais próximo está
da vida quotidiana e da família, um dos seus temas maiores. Mas a casa, como foco espacial e
emocional das personagens, nunca foi ponto de partida para um estudo ou interpretação. A
casa onírica de Gaston Bachelard, é assim a porta de entrada para a casa onírica de Ozu. A
partir da análise de cenas de alguns dos seus filmes, será levantado o seguinte problema: que
relevância tem para Ozu a ameaça à estabilidade dos ciclos familiares? Ozu faz-nos sentir que
vivemos pedaços completos da vida das personagens, construindo as suas narrativas em torno
de ciclos de vida. Outro objetivo é tentar perceber como é usado o tempo fílmico (dentro dos
planos, da montagem entre planos e entre cenas) relacionando a ideia de ameaça ou rutura de
um estado emocional com os conceitos de tempo, duração e ciclo narrativo. Tentar perceber
como é que Ozu constrói a ideia de ciclo e a sua regeneração e procurar relacionar estas
conclusões com um olhar do realizador sobre o mundo que filma. Por fim, pretende-se
igualmente uma reflexão sobre a natureza artística do cinema tendo como referência a obra de
Ozu.
The research, substantiated in this dissertation, on the Japanese director Yasujiro Ozu (december 12, 1903, Tokyo - december 12, 1963), is carried out from the perspective of someone who tries to make films, who intends to look at the work of this director as a topic of discovery and learning. Ozu is a director of affections, the one who is closest to everyday and family life, one of Ozu’s major themes. However, the house, as the spatial and emotional focus of the characters, was never the starting point for a study or interpretation. The oneiric house of Gaston Bachelard is thus the gateway to the oneiric house of Ozu. Based on the analysis of scenes from some of his films, the following problem will be raised: what relevance has to Ozu the threat to the stability of family cycles? Ozu makes us feel that we live complete pieces of the characters' lives, building their narratives around life cycles. A further goal is trying to understand how filmic time is used (within shots, between shots and scenes) by relating the idea of threat or rupture of an emotional state with the concepts of time, duration and cycle. I will attempt to understand how Ozu constructs the idea of cycle and its regeneration and seek to relate these conclusions to the director´s view of the world that he films. Finally, it is also intended a reflection on the artistic nature of cinema having Ozu's work as a reference.
The research, substantiated in this dissertation, on the Japanese director Yasujiro Ozu (december 12, 1903, Tokyo - december 12, 1963), is carried out from the perspective of someone who tries to make films, who intends to look at the work of this director as a topic of discovery and learning. Ozu is a director of affections, the one who is closest to everyday and family life, one of Ozu’s major themes. However, the house, as the spatial and emotional focus of the characters, was never the starting point for a study or interpretation. The oneiric house of Gaston Bachelard is thus the gateway to the oneiric house of Ozu. Based on the analysis of scenes from some of his films, the following problem will be raised: what relevance has to Ozu the threat to the stability of family cycles? Ozu makes us feel that we live complete pieces of the characters' lives, building their narratives around life cycles. A further goal is trying to understand how filmic time is used (within shots, between shots and scenes) by relating the idea of threat or rupture of an emotional state with the concepts of time, duration and cycle. I will attempt to understand how Ozu constructs the idea of cycle and its regeneration and seek to relate these conclusions to the director´s view of the world that he films. Finally, it is also intended a reflection on the artistic nature of cinema having Ozu's work as a reference.
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Ozu, Yasujirō, 1903-1963 - Crítica e interpretação Realizadores de cinema - Japão - séc.20 Cinema - Japão - séc.20 Cinema - Estética Cinema - Temas, motivos Família - No cinema Teses de Doutoramento - 2020 Ozu, Yasujirō, 1903-1963 - Estética