O papel da cenografia na obra de Federico Fellini: Importância e significados do espaço cênico em Julieta dos espíritos eSatyricon
The aim of this research is to study the scenic apparatus as an active element in the narrative discourse and as an essential element in the image construction process of the italian director Federico Fellini. The first chapter focuses on La dolce Vita (1960) as the turning point in thedirectors sty...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2007 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/JSSS-7WLH26 |
| Acceso en línea: | http://hdl.handle.net/1843/JSSS-7WLH26 |
| Access Level: | acceso abierto |
| Palabra clave: | Estúdio Cinematográfico Cinecittà Federico Fellini Cinema Cenografia Fellini, Federico, 1920-1993 Dolce Vita Diretores e produtores de cinema Itália Fellini, Federico, 1920-1993 Satyricon Fellini, Federico, 1920-1993 Julieta dos Espíritos Estudios de cinema |
| Sumario: | The aim of this research is to study the scenic apparatus as an active element in the narrative discourse and as an essential element in the image construction process of the italian director Federico Fellini. The first chapter focuses on La dolce Vita (1960) as the turning point in thedirectors style evolution, when Fellini starts to use the studio as one of the main tools in the construction of his singular aesthetics. The second chapter presents a general analysis of Fellinis cinematographic style, through the observation of different aspects in his personality and work. The third chapter presents an analysis of the aesthetic format of Giulietta deggli spiriti (1965), focusing on the set element as an active vector in the narrative discourse. The fourth chapter analyses the aesthetic format of Satyricon (1969), underlining the pictorial character of its images and the importance of the scenic device in the visual composition of the film. |
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