Fragmentos da moral crist? no cinema de horror de Jos? Mojica Marins
| Autor: | Couto, Giancarlo Backes |
|---|---|
| Přispěvatelé: | Gerbase, Carlos |
| Jazyk: | portugalština |
| Rok vydání: | 2020 |
| Předmět: | |
| Zdroj: | Biblioteca Digital de Teses e Dissertações da PUC_RS Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) instacron:PUC_RS |
| Popis: | Esta pesquisa tem, como proposta, investigar a moral crist? no cinema de horror de Jos? Mojica Marins. Sendo assim, pergunta-se: em quais aspectos a filmografia do diretor carrega elementos da moral crist?? Em quais pontos os filmes reafirmam essa moral e em quais eles a negam? Parte-se da hip?tese de que h? aqui uma rela??o extremamente complexa e amb?gua em rela??o ? moral, que foge da simples prerrogativa de que Mojica a atacava ou, indiretamente, a reafirmava. Para trabalhar tal tema, foram escolhidos alguns aspectos a serem abordados, bem como fragmentos da filmografia do diretor que exp?em o assunto. Sendo assim, o trabalho foi norteado pelo exame das rela??es entre pureza e impureza e entre blasf?mia e Barroco dentro da filmografia do cineasta, relacionando tais conceitos tanto com os filmes abordados quanto com outras obras art?sticas que tamb?m os contenham. A metodologia utilizada atua em dois movimentos, num primeiro combinando os conceitos de ?fragmento? e ?imagem dial?tica? em Benjamin (1984; 2012; 2017) para, num segundo momento, abordar as mentalidades (SORLIN, 1985) que emergem dessas imagens. Al?m do objetivo geral j? explicitado, esta pesquisa ainda cont?m alguns objetivos espec?ficos, sendo eles: examinar conte?do e forma dos objetos, estudando como determinados aspectos da moral crist? se apresentam; questionar como o objeto se relaciona com seu tempo, al?m de carregar reminisc?ncias de outros per?odos hist?ricos; comparar os fragmentos da filmografia de Mojica com demais obras art?sticas, tanto do cinema como de outros campos, a fim de entender semelhan?as e diferen?as na constitui??o dessas obras e suas rela??es com os respectivos per?odos hist?ricos e a moral crist? em si; e entender a rela??o do objeto com a sociedade que o produziu atrav?s das mentalidades encontradas nos fragmentos. Cada cap?tulo, por investigar diferentes aspectos, contou com distintos aportes te?ricos. No exame sobre pureza e impureza, partiu-se do conceito de mancha em Ricoeur (1982), bem como das rela??es entre pureza e impureza e ordem e desordem em Douglas (2014), relacionando tais conceitos dentro do horror (CARROLL, 1999). No que toca ? blasf?mia, Nash (2007) e Pieroni (2000; 2002) foram os principais consultados. Na an?lise do Barroco, utilizou-se principalmente as concep??es sobre viol?ncia e er?tico de Bataille (2014). As conclus?es desta pesquisa versam sobre como a moral crist? se modificou atrav?s dos tempos, aparecendo de variados modos em diferentes obras art?sticas. No cinema de Jos? Mojica Marins, tais aspectos da moral ora s?o reafirmados, ora s?o refutados. This study attempts to investigate Christian morality in Jos? Mojica Marin?s horror cinema. Our starting question was: in which aspect does the director?s oeuvre carry elements of Christian morality? At which points of the movies are these mores reaffirmed and when are they denied? The starting hypothesis here is that there is an extremely complex and ambiguous relationship with morality, which escapes the mere prerogative of whether Mojica would attack it or indirectly reaffirm it. In order to work with the subject, some main aspects were chosen for discussion, as well as fragments in the director?s oeuvre that deal with the subject. As such, this work was guided by the examination of the relationships between purity and impurity, as well as between blasphemy and the baroque within the filmmaker?s work, relating said concepts both with the movies under discussion and with other works of art that contain them. The methodology employed works in two fashions: first, by combining the concepts of ?fragment? and ?dialectical image? in Benjamin (1984; 2012; 2017) and, then, by approaching the mentalities (SORLIN, 1985) that emerge from these images. Besides the aforementioned general goal, this study also had specific goals, to wit: examining the content and form of the objects, investigating how specific aspects of Christian morality present themselves; questioning the way in which the object relates to its time, as well as how it carries reminiscences from other historical periods; comparing fragments in Mojica?s film work with other works of art, both in Cinema and elsewhere, so as to understand similarities and differences in the establishment of these works and their relationships with their respective historical periods and Christian morality itself; and understanding the relationship of the object with the society that produced it through the mentalities found in the fragments. Each chapter, in view of the investigation of different aspects, was supported by different sources of theory. In examining the purity/impurity dichotomy, the concept of stain in Ricoeur (1982) was employed, along with the relations between purity and impurity and between order and disorder in Douglas (2014), relating said concepts within horror (CARROLL, 1999). In regards to blasphemy, Nash (2007) and Pieroni (2000; 2002) were the main authors used. When analyzing the baroque, Bataille?s concepts of violence and erotica (2014) were especially used. The conclusions in this study discuss the way in which Christian morality changed over time, appearing in different ways in different works of art. In the films of Jos? Mojica Marins, said aspects of that morality are at times reaffirmed, and other times rejected. Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES |
| Databáze: | OpenAIRE |
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