SEMINRIOS JARDIM DAS PEDRAS

Campus Jardim das Pedras | Feital

setembro 2017

A escrita e a criao cinematogrfica

Manuela Penafria
(Universidade da Beira Interior/Labcom.IFP)
manuela.penafria@gmail.com
O que fazer para fazer cinema?

Nouvelle Vague antes da realizao, a crtica de cinema.

Godard on Godard, Translated and Edited by Tom Milne, Da Capo Press, 1986
https://monoskop.org/images/7/7c/Godard_Jean-Luc_Godard_On_Godard.pdf

Cahiers du Cinma, the 1950s: Neo-realism, Hollywood, New Wave, Edited by Jim
Hillier, Harvard University Press, 1985
https://e-edu.nbu.bg/pluginfile.php/303079/mod_resource/content/0/Hillier_.Jim.-
.Cahiers.du.Cinema.-.The.1950s.PDF-KG.pdf

Cahiers du Cinma, 1960-1968: New Wave, New Cinema, Reevaluating Hollywood,

Edited by Jim Hillier, Harvard University Press, 1986
https://monoskop.org/images/e/ee/Cahiers_du_Cinema_1960-
1968_New_Wave_New_Cinema_Reevaluating_Hollywood.pdf

Jean-Luc Godard - Les annes Cahiers (1950 1959), Ed. Champs, Flammarion, 2007
 Strangers on a train (O desconhecido do Norte-Expresso), 1952
Farley Granger (Guy Haines)
Ruth Roman (Anne Morton)
Robert Walker (Bruno Antony)
Strangers on a Train, in Cahiers du Cinma, n. 10, Maro 1952

The man who knew too much (O homem que sabia demais), 1956
James Stewart (Dr. Ben McKenna)
Doris Day (Jo McKenna)
The man who knew too much in Cahiers du Cinma, n. 64, 1956

The wrong man (O falso culpado), 1957

Henry Fonda (Christopher Emmanuel "Manny" Balestrero)
Vera Miles (Rose Balestrero)
Le cinema et son double in Cahiers du Cinma, n. 72, 1957
Strangers on a train (O desconhecido do Norte-Expresso), 1952
Strangers on a Train, in Cahiers du Cinma, n. 10, Maro 1952

I know no other recent film, in fact, which better conveys the condition of
modern man, who must escape his fate without the help of the gods. () Look at
these stretches of heath, these neglected homes, or the somber poetry of
modern cities, those boats on a fairground lake, those immense avenues, and tell
me if your heart does not tighten, if such severity does not frighten you. You are
watching a spectacle completely subjected to the contingencies of the world; you
are face to face with death. Yes, invention holds sway only over language, and
mise en scene forces us to imagine an object in its signification; but these clever
and violent effects are so only to transmit the drama to the spectator at its
highest level I refer, of course, to the strangling in the wood and the struggle on
the merry-go-round, scenes which contain so many astonishing realities, such
depth in their fantastic frenzy, that I fancy I breathe in them a gentle odor of
profanation. The truth is that there is no terror untempered by some great moral
idea. () From German expressionism, Hitchcock consciously retains a certain
stylization of attitude, emotions being the result of a persistent purpose rather
than of impetuous passion: it is through his actions that the actor finally becomes
simply the instrument of action ()
 The man who knew too much (O homem que sabia demais),
1956
The man who knew too much in Cahiers du Cinma, n. 64, 1956

It is easy to see what is likely to shock the susceptible in this story: the touch of
extravagance and, what obviously attracted Hitchcock, the introduction of this
extravagance in lives as ordinary as yours and mine. This is perhaps the most
improbable of Hitchcocks films, but also the most realistic. What is suspense?
Waiting, and therefore a void to be filled; and more and more Hitchcock loves to
fill it with asides which have little bearing on the event. () When he leaves the
studio to shoot on location, the director of To Catch a Thief allows his actors
more freedom, lets his camera linger on a landscape, seizes neatly and firmly on
every droll character or bizarre object to come his way. The scenes in the
bedroom, the Arab caf, the two police offices (French and English), the
taxidermists shop, the Presbyterian chapel, the concert or the embassy ought, if
they are logical, to make all the Buuels and Zavattinis of this world pale with
envy. Today Alfred Hitchcock looks all round his characters, just as he forces them
to look round. Not that he ever loses interest without tenderness, he had never
before stressed with such fierce irony the ridiculousness of the most natural.
Everyday gestures.
The wrong man (O falso culpado), 1957
Le cinema et son double in Cahiers du Cinma, n. 72, 1957

Balestrero entra na cela e olha a cama, contracampo sobre a cama, o lavatrio:

contracampo sobre o lavatrio, levanta os olhos: contracampo sobre o ngulo das
paredes e do tecto, olha as grades: contracampo sobre as grades. Compreendemos,
ento, que Manny [Balestrero] v sem olhar, do mesmo modo que, durante o processo,
ouvir sem escutar. Mais uma vez, Alfred Hitchcock prova que o cinema, mais do que a
fotografia ou o romance, capaz de mostrar os dados imediatos da conscincia. Fatigado,
Balestrero apoia-se na parede, submerso na vergonha. Fecha os olhos com fora,
tentando recompor-se, por um instante. Enquadrando-o em plano aproximado, a cmara
descreve, ento, crculos em torno dele, cada vez mais rpidos, num eixo perpendicular
parede a que Fonda [actor Henry Fonda que interpreta Manny Balestrero] est
encostado. Este movimento giratrio serve de transio para o plano seguinte, em que
Balestrero levado a tribunal, segundo o uso americano que determina se o acusado vai
ter ou no direito a um verdadeiro processo. Como frequentemente, nas transies
que Hitchcock analisa os sentimentos, as impresses subjectivas demasiado pequenas
para poderem ter lugar no curso de uma sequncia importante. Atravs daquele
movimento de cmara, ele consegue tornar sensvel um trao puramente fsico, a
crispao das plpebras que Fonda baixa, a fora com que, por um tero de segundo, elas
se fecham sobre a rbita dos olhos, fazendo passar, na imaginao sensorial, um
caleidoscpio de abstraces que s um movimento de cmara extravagante poderia
exprimir com sucesso.
..
O ato de criao, Gilles Deleuze
Comunicao apresentada na FMIS, 1987
Gilles Deleuze (1999). O ato de criao, Conferncia na FMIS. Edio brasileira: Folha
de So Paulo. Trad. Jos Marcos Macedo [1987].
O que o ato de criao? Disponvel em: http://filosofiaemvideo.com.br/conferencia-
gilles-deleuze-o-que-e-o-ato-de-criacao-legendas-em-portugues/

O que que vocs fazem, exatamente, vocs que fazem cinema?

O que vocs inventam no so conceitos isso no de sua alada , mas blocos de
movimento/ durao.

O cineasta um criador de blocos de movimento/durao, que escapam ou afastam-se

da linguagem verbal e escrita; para esta reserva-se a criao ou de conceitos (criados
pelos filsofos) ou de funes (criadas pelo cientista).
Ideias cinematogrficas: disjuno entre ver e falar

Blocos de movimento-durao
(ensaios audiovisuais atuais realam blocos de movimento durao autorais)
http://labcom-ifp.ubi.pt/book/284 http://labcom-ifp.ubi.pt/book/288