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O guionismo como prática cultural : o olhar do guionista
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Orientador(es)
Resumo(s)
O presente estudo parte do pressuposto de que o mundo que nos rodeia pode ser entendido ontologicamente como representação, e uma das representações possíveis é a representação audiovisual. Neste contexto, equaciona-se a emergência de um texto, o guião, como representação primeira, escrita, de uma representação outra, audiovisual. Apesar dos diferentes pontos de vista sobre a necessidade do guião no processo de criação audiovisual consideramos a sua presença e importância incontornáveis.
Ao longo da análise descreve-se o universo de questões que, historicamente, caracterizaram a abordagem do guionismo, enquanto prática ancorada no fenómeno da comunicação humana; o guião e a sua ontologia textual e o guionista enquanto autor; associando a esta descrição a discussão sobre as perspectivas críticas mais recentes, principalmente o conceito de screen idea avançado por Ian W. Macdonald (2013).
O nosso corpus assenta em cinco narrativas audiovisuais, que têm como elementos estruturantes o processo de criação, o guionismo e a literatura. Através de uma perspectiva multidisciplinar, procuramos compreender, a nível teórico, as ligações que podemos estabelecer entre criação, memória, sentidos e representação, e simultaneamente tecer os vínculos possíveis entre estes conceitos e o guionismo enquanto prática, destacando as qualidades cinemáticas do guião e a sua ligação com uma circunstância concreta de criação. É nosso objectivo identificar aquilo que operativamente deve possuir o guião para ser lido e pensado enquanto filme.
Com a nossa pesquisa pretendemos contribuir para a investigação do guionismo enquanto prática criativa e cultural: (1) destacando, quer o papel do guionista no processo de criação, através da análise da sua presença no corpus fílmico seleccionado, (2) quer enquanto prática de criação que se caracteriza por um continuum de aproximação a uma performance audiovisual, (3) por último, procuramos contribuir, para um trabalho mais sistemático, em Portugal, sobre o guião, de forma a proporcionar-lhe um espaço epistemológico próprio.
This study is based on the premise that the world around us can be understood ontologically as a representation; and one of the possible representations is the audio-visual representation. In this context, the emergence of a text - the screenplay - is considered to be the first, written representation of another one: the audio-visual representation. Despite the different points of view on the need for a screenplay in the process of audiovisual creation, we consider its presence and value essential. [The audiovisual script is the result of an act of creation and a cultural product.] In the course of the analysis, we describe the full range of issues that have historically characterised the approach of scriptwriting as a practice anchored in the phenomenon of human communication, the script and its textual ontology, and the screenwriter as an author; associating with this description a discussion on the most recent critical perspectives, especially the 'screen idea' concept put forward by Ian W. Macdonald (2013). Our corpus is based on five audiovisual narratives, whose structuring elements are the process of creation, scriptwriting and literature. Through a multidisciplinary perspective we attempt to understand, at the theoretical level, the links that we can establish between creation, memory, senses and representation, and at the same time weave possible links between these concepts and scriptwriting as a practice, highlighting the cinematic qualities of the script and its connection with a specific circumstance of creation. It is our goal to identify what the script must contain operatively to be read and thought of as a film. Our research aims to contribute to the investigation of scriptwriting as a creative and cultural practice, by (i) highlighting the role of the screenwriter in the process of creation, through the analysis of his presence in the selected film corpus, (ii) highlighting a method of creation characterised by a continuum of approximation to an audio-visual performance, and (iii) aiming to contribute to a more systematic work, in Portugal, about the screenplay, establishing its own epistemological space.
This study is based on the premise that the world around us can be understood ontologically as a representation; and one of the possible representations is the audio-visual representation. In this context, the emergence of a text - the screenplay - is considered to be the first, written representation of another one: the audio-visual representation. Despite the different points of view on the need for a screenplay in the process of audiovisual creation, we consider its presence and value essential. [The audiovisual script is the result of an act of creation and a cultural product.] In the course of the analysis, we describe the full range of issues that have historically characterised the approach of scriptwriting as a practice anchored in the phenomenon of human communication, the script and its textual ontology, and the screenwriter as an author; associating with this description a discussion on the most recent critical perspectives, especially the 'screen idea' concept put forward by Ian W. Macdonald (2013). Our corpus is based on five audiovisual narratives, whose structuring elements are the process of creation, scriptwriting and literature. Through a multidisciplinary perspective we attempt to understand, at the theoretical level, the links that we can establish between creation, memory, senses and representation, and at the same time weave possible links between these concepts and scriptwriting as a practice, highlighting the cinematic qualities of the script and its connection with a specific circumstance of creation. It is our goal to identify what the script must contain operatively to be read and thought of as a film. Our research aims to contribute to the investigation of scriptwriting as a creative and cultural practice, by (i) highlighting the role of the screenwriter in the process of creation, through the analysis of his presence in the selected film corpus, (ii) highlighting a method of creation characterised by a continuum of approximation to an audio-visual performance, and (iii) aiming to contribute to a more systematic work, in Portugal, about the screenplay, establishing its own epistemological space.
Descrição
Palavras-chave
Cinema - Arte de escrever Guionistas Autor (Cinema) Criação (Estética) Teses de doutoramento - 2019