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No presente trabalho dissertativo fita-se averiguar da viabilidade da consideração de um cinema denominável “humanista”, por meio do afloramento da doutrina do Humanismo e com recurso às cinematografias nacionais que, conforme patenteado pelas avindas posições da literatura, mais vêm logrando ombrear com a hegemónica Hollywood quer na qualidade quer na quantidade das suas produções: a japonesa e a francesa. De entre a abundância de cineastas e obras de monta de que ambas se enformam, ativemo-nos ao corpo fílmico de um quarteto de renomados e idiossincrásicos realizadores que avultaram no pós-guerra: os nipónicos Yasujirō Ozu (1903–1963) e Kenji Mizoguchi (1898–1956), bem como os gauleses Robert Bresson (1901–1999) e Éric Rohmer (1920–2010), dos quais se elegeu para diagnóstico humanista Primavera Tardia (Banshun, 1949), Os Amantes Crucificados (Chikamatsu Monogatari, 1954), Amor e Morte (Mouchette, 1967) e A Minha Noite em Casa de Maud (Ma Nuit Chez Maud, 1969), respectivamente. Apesar de distintos entre si, títulos que tais fazem-se unir por um incontendível denominador comum: a osmose entre conteúdo e forma, a singularidade e apuro da linguagem cinematográfica – marca autógrafa de cada um dos seus quatro auteurs – e a rara capacidade de estimular uma meditação acerca da relação do Homem com a sua condição e o seu fado, predicados sem os quais perderiam da muito própria identidade e do poder arrebatante que afinal lhes valeram a posteridade.
It is the aim of this work to ponder the viability of a “humanist” kind of cinema, by means of both the Humanist doctrine and the national cinemas of Japan and France, whose production quality and quantity are consensually championed among scholars to rival the hegemonic Hollywood. Amid the immensity of filmmakers and masterworks that constitute both legacies, there was a focus on four renowned and idiosyncratic directors who have excelled in the post-war period: the Japanese Yasujirō Ozu (1903–1963) and Kenji Mizoguchi (1898–1956), as well as the French Robert Bresson (1901–1999) and Éric Rohmer (1920–2010), from whom we chose for humanist diagnosis Late Spring (Banshun, 1949), A Story from Chikamatsu (also known as The Crucified Lovers) (Chikamatsu Monogatari, 1954), Mouchette (Mouchette, 1967), and My Night at Maud’s (Ma Nuit Chez Maud, 1969), respectively. Although all distinct from one another, these titles are linked by an incontestable common denominator: the osmosis between content and form, the singularity and refinement of the visual grammar – trademark of each of the four auteurs –, and the rare capacity to stimulate a meditation on the relationship of Man with his condition and fate, features without which these films would lose most of their very own identity and the overwhelming power that, after all, immortalized them in the pantheon of Cinema.
It is the aim of this work to ponder the viability of a “humanist” kind of cinema, by means of both the Humanist doctrine and the national cinemas of Japan and France, whose production quality and quantity are consensually championed among scholars to rival the hegemonic Hollywood. Amid the immensity of filmmakers and masterworks that constitute both legacies, there was a focus on four renowned and idiosyncratic directors who have excelled in the post-war period: the Japanese Yasujirō Ozu (1903–1963) and Kenji Mizoguchi (1898–1956), as well as the French Robert Bresson (1901–1999) and Éric Rohmer (1920–2010), from whom we chose for humanist diagnosis Late Spring (Banshun, 1949), A Story from Chikamatsu (also known as The Crucified Lovers) (Chikamatsu Monogatari, 1954), Mouchette (Mouchette, 1967), and My Night at Maud’s (Ma Nuit Chez Maud, 1969), respectively. Although all distinct from one another, these titles are linked by an incontestable common denominator: the osmosis between content and form, the singularity and refinement of the visual grammar – trademark of each of the four auteurs –, and the rare capacity to stimulate a meditation on the relationship of Man with his condition and fate, features without which these films would lose most of their very own identity and the overwhelming power that, after all, immortalized them in the pantheon of Cinema.
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Cinema Humanismo Pós-Guerra Ozu Mizoguchi Bresson Rohmer Humanism Post-War