A paisagem mental da memória no cinema de Alain Resnais
During the first phase of his career, Alain Resnais discussed the fallibility and creativity of memory when activated by mental processes. Based on the premise that the director manipulated the filmic space to sculpt the time of remembrance processes, this article verified the strategies of spatiali...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | Significação (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:revistas.usp.br:article/156684 |
| Acceso en línea: | https://www.revistas.usp.br/significacao/article/view/156684 |
| Access Level: | acceso abierto |
| Palabra clave: | Paisagem mental Espaço Tempo Memória Mindscape Space Time Memory |
| Sumario: | During the first phase of his career, Alain Resnais discussed the fallibility and creativity of memory when activated by mental processes. Based on the premise that the director manipulated the filmic space to sculpt the time of remembrance processes, this article verified the strategies of spatialization of memory time in Last Year at Marienbad (1961), the second feature film by Resnais. In the light of the concept of mindscape, the analysis suggests that the movie settings are disrupted and no longer subservient to actions that obey rigid chronologies through counterpoint between sound and image, the extended duration of plans and repetition. |
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