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Do cineasta Demiurgo : uma análise da obra de João César Monteiro
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Esta dissertação tem como propósito analisar toda a obra cinematográfica de João César Monteiro, à luz de dois temas que, segundo cremos, a atravessam de forma constante: o meta-cinema e o sagrado. Nos seus filmes, Monteiro coloca o cinema a falar sobre si próprio, mostrando os artifícios da sua construção, reflectindo sobre os seus limites ou capacidades, ou fazendo referências a filmes de outros autores, introduzindo directamente o cinema no cinema. Como mostraremos, o realizador cria assim um meta-cinema. Já o sagrado manifesta-se no seu corpus fílmico, por exemplo, através de referências a deuses, figuras mitológicas ou maternais. Contudo, nos filmes de Monteiro, tanto o sagrado como o cinema oscilam num duplo movimento paradoxal: criação e contra-criação. Muitas vezes o realizador cria filmes que remetem para a destruição do próprio cinema. E o sagrado não se faz presente apenas pela evocação de símbolos da criação mas também pela transgressão absoluta. A partir de Recordações da Casa Amarela (1989), Monteiro passa a protagonizar grande parte dos seus filmes, tornando-se num Deus omnipresente, chamando para si o papel de cineasta-demiurgo e confundindo-se com o seu próprio cinema. Dividimos a nossa análise em dois capítulos. No primeiro, comentamos todos os filmes em que o realizador-argumentista não é protagonista. No segundo, debruçamo-nos sobre os filmes em que o cineasta é figura central e chama para si o papel de cineasta-demiurgo. Defenderemos como, na obra de Monteiro, sagrado e meta-cinema se consubstanciam, sempre num duplo movimento: criação e contra-criação.
This dissertation aims to analyse the full cinematographic work of João César Monteiro, focusing on two themes that, we believe, are felt through it in a constant way: metacinema and the sacred. In his films, Monteiro stages the cinema speaking about itself, revealing the artifices of its construction, reflecting on its limits or capabilities, or referencing films by other authors, introducing cinema directly in cinema. This way, as we will show, the director creates a metacinema. As for the sacred, it manifests in his filmic corpus, for instance through references to gods, mythological or maternal creatures. However, in Monteiro’s films, both the sacred and the cinema oscillate in a paradoxical double movement: creation and counter-creation. Often, the director creates films that point to the destruction of cinema itself. And the sacred doesn’t make itself present only through the evocation of creation symbols but also through absolute transgression. Since Recollections of the Yellow House (1989), Monteiro began starring as the protagonist in most of his movies, becoming an omnipresent God, calling upon himself the role of demiurge-filmmaker and blending with his own cinema. We have divided our analysis into two chapters. In the first we will comment on all the films in which the writer-director is not the protagonist. In the second we will look into all the movies in which the filmmaker is the central figure and calls upon himself the role of demiurge-filmmaker. We will advocate how, in Monteiro’s work, the sacred and metacinema consubstantiate each other, always in a double movement: creation and counter-creation.
This dissertation aims to analyse the full cinematographic work of João César Monteiro, focusing on two themes that, we believe, are felt through it in a constant way: metacinema and the sacred. In his films, Monteiro stages the cinema speaking about itself, revealing the artifices of its construction, reflecting on its limits or capabilities, or referencing films by other authors, introducing cinema directly in cinema. This way, as we will show, the director creates a metacinema. As for the sacred, it manifests in his filmic corpus, for instance through references to gods, mythological or maternal creatures. However, in Monteiro’s films, both the sacred and the cinema oscillate in a paradoxical double movement: creation and counter-creation. Often, the director creates films that point to the destruction of cinema itself. And the sacred doesn’t make itself present only through the evocation of creation symbols but also through absolute transgression. Since Recollections of the Yellow House (1989), Monteiro began starring as the protagonist in most of his movies, becoming an omnipresent God, calling upon himself the role of demiurge-filmmaker and blending with his own cinema. We have divided our analysis into two chapters. In the first we will comment on all the films in which the writer-director is not the protagonist. In the second we will look into all the movies in which the filmmaker is the central figure and calls upon himself the role of demiurge-filmmaker. We will advocate how, in Monteiro’s work, the sacred and metacinema consubstantiate each other, always in a double movement: creation and counter-creation.
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Monteiro, João César, 1939-2003 - Crítica e interpretação Cinema - Portugal - séc.20 Teses de mestrado - 2016