Leituras das versőes do filme The Gold Rush: vozes discursivas e dramaticidade
AUTOR(ES)
Raissa Shiraishi
FONTE
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia
DATA DE PUBLICAÇÃO
24/02/2012
RESUMO
In 1925, Charles Chaplin made the film The Gold Rush, and in 1942, he realeased the same film, re-edited with addition of music and narrator and charater‟s voices. Among these seventeen years, there was the advent of sound films, which provoked major changes in cinema. This dissertation proposes not only to know how was this transition from silent film to the talkies, a phenomenon which in itself already arouses much interest, but also to examine the changes occured in the new edition the new version, with the introduction of the narrator and characters‟ words. In the dialogism research and grounded in theories of literatura and cinema, this study intends to: to examine the narrative instance in the two versions of the film, in order to understand the discursive variants that fall under different situations of enunciation; to investigate the assignments that each forms of speech executes and the reading possibilities they present; to examine the drama as a expressive mean which, with new film techniques, acts to hold the spectator‟s attention and stimulate the narrative tension to the apex, then to overflow in comic, by passing thus the tragic outcome. To achieve these purposes, we outlined a brief historical overview of cinema, emphasizing the silent movies and their transition into the talkies and, in this quick cinema history incurtion, we have established a parallel with Chaplin‟s trajectory. In the comparison between the two films, will be verified that the narrator‟s presence and the addition of dialogues in the version of 1942, received a wide field to subjectivity exposure, which contributes to reveal different selfs of the narrative instance and characters. Using the drama recourse, for its part, also suffers from variations in the two versions, producing, significant changes in the interpretation of filmic texts. All narrative expedients installed differently in each version confirm once again Chaplin‟s notability work, long recognized as a great cinema connoisseur, and they show that the recourses, which the distinguished English filmmaker used to awaken the magic and pleasure of the espectator, are inexhaustible.
ASSUNTO(S)
film narrative reissue letras charles chaplin dramaticidade narrador reedição de narrativa fílmica the gold rush charles chaplin the gold rush narrator drama
