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Abstract(s)
Neste projecto a que chamámos “Imitação da vida. A escrita cinematográfica e o melodrama”, numa clara homenagem aos filmes realizados por John Stahl (1934) e Douglas Sirk (1959), a partir de um romance de Fannie Hurst, procurou-se analisar a evolução do melodrama, desde o seu aparecimento enquanto género, no teatro, e a forma como este evoluiu com o cinema. As diversas leituras que os estudos fílmicos fizeram do melodrama serviram para enquadrar teoricamente um acervo de obras da década de cinquenta, em particular a filmografia tardia de Douglas Sirk. Focamos ainda a recuperação e reinvenção do melodrama a partir da década de 70 com realizadores como Rainer Werner Fassbinder, Pedro Almodóvar e Todd Haynes.
O estudo do melodrama, e dos seus princípios, tinha como finalidade responder à questão de partida que se relaciona com o impacto emocional do melodrama junto do público. Com base na moldura teórica partimos para a escrita de um argumento de longa-metragem, aplicando os princípios do género melodramático.
In this project called “Imitation of Life. Scriptwriting and melodrama”- in a clear tribute to the films by John Stahl (1934) and Douglas Sirk (1959) both based on the novel by Fannie Hurst- we intent to analyze the evolution of the melodrama, since its appearance while gender, in theater, and how it developed with the cinema. The various readings that the filmic studies made of the melodrama served to frame theoretically a collection of works from the 1950s, in particular the late filmography of Douglas Sirk. We also highlighted the recuperation and reinvention of the melodrama since the 1970s with filmmakers as Rainer Werner Fassbinder, Pedro Almodóvar e Todd Haynes. The purpose of this study of melodrama, and its principles, was to answer to the main question regarding the emotional impact of melodrama to the public. On the basis of the theoretical frame we started writing an argument of feature film, by applying the principles of the melodramatic genre.
In this project called “Imitation of Life. Scriptwriting and melodrama”- in a clear tribute to the films by John Stahl (1934) and Douglas Sirk (1959) both based on the novel by Fannie Hurst- we intent to analyze the evolution of the melodrama, since its appearance while gender, in theater, and how it developed with the cinema. The various readings that the filmic studies made of the melodrama served to frame theoretically a collection of works from the 1950s, in particular the late filmography of Douglas Sirk. We also highlighted the recuperation and reinvention of the melodrama since the 1970s with filmmakers as Rainer Werner Fassbinder, Pedro Almodóvar e Todd Haynes. The purpose of this study of melodrama, and its principles, was to answer to the main question regarding the emotional impact of melodrama to the public. On the basis of the theoretical frame we started writing an argument of feature film, by applying the principles of the melodramatic genre.
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Keywords
Cinema Teoria dos géneros Melodrama Escrita de argumento Genre’s theory Script writing