Tinturas do drama: imagens e memórias em a Gata em Teto de Zinco Quente
This work has the objective of performing a study about the translation of the play Gata em Teto de Zinco Quente (Cat on a Hot Tin Roof), written in 1954, by the American playwright Tennessee Williams and translated into film by the director Richard Brooks in 1958. The drama is focused on the relati...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2011 |
| País: | Brasil |
| Institución: | Universidade Estadual do Oeste do Paraná (UNIOESTE) |
| Repositorio: | Biblioteca Digital de Teses e Dissertações do UNIOESTE |
| Idioma: | portugués |
| OAI Identifier: | oai:tede.unioeste.br:tede/2527 |
| Acceso en línea: | http://tede.unioeste.br:8080/tede/handle/tede/2527 |
| Access Level: | acceso abierto |
| Palabra clave: | Teatro Cinema Memória Imagem Literatura comparada Memory Representation Iconography CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
| Sumario: | This work has the objective of performing a study about the translation of the play Gata em Teto de Zinco Quente (Cat on a Hot Tin Roof), written in 1954, by the American playwright Tennessee Williams and translated into film by the director Richard Brooks in 1958. The drama is focused on the relationship in crisis of the Maggie's voluptuous character, the cat, and her husband Brick, former alcoholic who sexually rejects hers. The conflict climax occurs in the occasion of the Brick s father birthday, Big Daddy, who has cancer in the terminal stage and he is the only one who is unaware of this fact. This situation leads to a discussion about the inheritance sharing. The cinematographic translation takes the play as a starting point, however the screenwriter and director choices point out to different imaginetic interpretations from the play text, not creating, therefore, a copy, but another work. The memory can be analyzed in the base that recreates it through images and objects. At this point, it is important to emphasize the memory role as a centralizer of the images conception and the confrontation between the characters. In this way, this study starts with the images analysis from the base, the father and son conflict scene, related to the memory, which is the essential element in the narrative delineation of the movie. This work takes as theoretical base the comparative literature concerning the meaning buildings in the study of the homonymous narratives and in analogy to other arts such as painting. |
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