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Escrita e imagem em In the mood for love
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A partir da análise do filme In the Mood for Love (2000) de Wong Kar Wai, e em paralelo com a análise do romance Tête-Bêche (1997) de Liu Yinchang, esta dissertação procura reflectir as contaminações, transições e intersecções entre espaço da escrita e imagem no filme.
Adaptando o romance Diudao (1997) de Liu Yichang – Intersections na tradução inglesa, e Tête-Bêche na sua tradução francesa, versão que será objecto de análise nesta tese –, In The Mood for Love mobiliza múltiplas dinâmicas do desejo na imagem que se cristalizam na intersecção de diferentes espaços e tempos, problematizando várias componentes (formais e narrativas) do espaço do cinema.
Neste sentido, esta dissertação procura reflectir as contaminações e intersecções entre espaço da escrita e imagem, tendo em consideração a representação do desejo no filme, explorando, também, a forma como esta mediação entre escrita e imagem se reproduz nos corpos em movimento dos protagonistas do filme.
Enquadrada nos Estudos Fílmicos, fundamentada em conceitos como simulacro, fetichismo, nostalgia, imagem-tempo, esta tese divide-se em três focos de análise: Espaço da Escrita, Tempo e Espaço e, por fim, Corpo e Escrita.
ABSTRACT: From the starting analysis of In the Mood for Love (2000) by Wong Kar Wai, along with the analisys of the novel Tête-Bêche (1997) by Liu Yinchang, this dissertation looks upon reflecting the exchanges, transitions and intersections between space of writing and image in the film. Adapting the novel Diudao (1997) by Liu Yichang – Intersections in its English translation, and Tête-Bêche in its French translation, version that will be subject of analysis in this thesis -, In the Mood for Love establishes multiple dynamics of desire in image that crystallize at the intersection between different spaces and times, questioning several components (both formal and narrative) of space and time in cinema. Therefore, this thesis aims at reflecting the intersections and exchanges between image and writing regarding the representation of desire in the film, along with an analysis of the means how writing and image mediation is reproduced on the protagonists moving bodies . With a conceptual framework in Film Studies, based in concepts as simulacra, fetichisme, nostalgia, image-time, this thesis divides into three points of analysis: Space of Writing, Time and Space, and finally, Body and Writing.
ABSTRACT: From the starting analysis of In the Mood for Love (2000) by Wong Kar Wai, along with the analisys of the novel Tête-Bêche (1997) by Liu Yinchang, this dissertation looks upon reflecting the exchanges, transitions and intersections between space of writing and image in the film. Adapting the novel Diudao (1997) by Liu Yichang – Intersections in its English translation, and Tête-Bêche in its French translation, version that will be subject of analysis in this thesis -, In the Mood for Love establishes multiple dynamics of desire in image that crystallize at the intersection between different spaces and times, questioning several components (both formal and narrative) of space and time in cinema. Therefore, this thesis aims at reflecting the intersections and exchanges between image and writing regarding the representation of desire in the film, along with an analysis of the means how writing and image mediation is reproduced on the protagonists moving bodies . With a conceptual framework in Film Studies, based in concepts as simulacra, fetichisme, nostalgia, image-time, this thesis divides into three points of analysis: Space of Writing, Time and Space, and finally, Body and Writing.
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Yichang, Liu, 1918 - Adaptações cinematográficas - História e crítica Wong, Kar-wai, 1958 - Crítica e interpretação Romance chinês - séc.20 - História e crítica Cinema chinês - séc.21 - História e crítica Teses de mestrado - 2015