Clareira: realismo, performance e pintura em diálogos com o cinema

Abstract

The theoretical-practical thesis starts from the investigation of the poetic processes of the creation of the short film Clearing (a joint work with Maíra Flores) and some conceptual issues that the film tensions: the theoretical limits between reality and fiction addressed through cinematographic realism, and also the dilution of boundaries between the fields of cinema and performance as well as cinema and painting, seeking to delineate contaminations and mutual influences in these different manifestations. Within the theories of cinematic realism, I discuss from André Bazin's theories, in the 1940s, to contemporary conceptions such as Slow Cinema, Contemporary Contemplative Cinema, Realism of the Senses, and Sensory Realism. I turn to the principle of indexicality of the medium to investigate the style characteristics of realist cinema, and explore what Lúcia Nagib will call "physical cinema", trying to bring realism closer to my filmmaking. In the thematic of performance, I deal with the problematic that involves the approximation between cinema and performance. Based on reflections by Deleuze and other authors who investigate the cinema centered on the corporeal aspect, I unfold the concept of body cinema. Next, I try to deepen the dialogues between performance and cinema, dealing with some problems of this crossing of fields. I conclude by analyzing the relations between performance and presence within cinema, approaching the work of filmmakers Robert Bresson and Albert Serra, between films and writings. In the final chapter, I investigate the intermedia dialogues between my cinema and painting, intending to explore the imagetic content of Clareira. I explore the concept of pathosformel, by Aby Warburg, verifying the pictorial origin of certain manifestations of corporal gestures in my film. Finally, through Freud's concept of the Uncanny, I seek to illuminate aspects of sensor