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Authors
Abstract(s)
Este relatório de projeto divide-se em duas grandes partes. Na primeira, faço o estado da arte do potencial da paisagem no cinema como elemento de expressão e de significado. A partir deste, analiso duas curtas-metragens portuguesas de ficção, Bunker (Aguilar, 2015) e Noite Turva (Salgado, 2020), escolhidas por integrarem e tratarem a paisagem não como mero cenário da ação dramática, mas como entidade singular dotada de agência e de personalidade. No caso de Bunker, o realizador caracteriza a paisagem através de uma cinematografia escura e sublinha a sua importância na estrutura global do filme, pois reparte, num exercício de montagem acelerada, a mesma atenção entre corpos e paisagem. No caso de Noite Turva, o realizador utiliza a paisagem, concreta e visível, como metáfora do mundo interior das personagens, volátil e invisível. A paisagem vai exercendo a sua força através de silhuetas, texturas e sons, tornando-se também numa personagem. Tendo como referência estes dois filmes, realizei a curta-metragem de ficção Litoral. Seguindo princípios similares no olhar sobre a paisagem, aquela mostra o impacto e as consequências do fenómeno da erosão que afeta uma grande parte da costa portuguesa. Na segunda parte do relatório, descrevo o percurso de desenvolvimento deste filme, nomeadamente as fases de pré-produção, produção e pós-produção. Litoral é a ponta do icebergue de um projeto necessário e que deve ser muito mais amplo, estudar a paisagem como forma de compreender o mundo, de reconhecer as suas transformações e de prever as suas consequências.
This report is divided into two main parts. In the first one, I present the state of the art of the potential of landscape in cinema as an element of expression and meaning. Based on this, I analyse two Portuguese short fiction films, Bunker (Aguilar, 2015) and Through the Haze (Salgado, 2020), chosen for integrating and treating landscape not as a mere scenario of dramatic action, but as a singular entity endowed with agency and personality. In Bunker, the director characterises the landscape through a dark cinematography and underlines its importance in the overall structure of the film, as he distributes, in an exercise of accelerated editing, the same attention between bodies and landscape. In Through the Haze, the director uses the landscape, concrete and visible, as a metaphor for the characters' inner world, volatile and invisible. The landscape exerts its grip through silhouettes, textures and sounds, also becoming a character. Inspired by these two films, I directed the short fiction film Coast. Following similar principles in the way of looking at landscape, it shows the impact and the consequences of the erosion phenomenon which affects a vast expanse of the Portuguese coast. In the second part of the report, I describe the development path of this film, namely the pre-production, production and post-production phases. Coast is the tip of the iceberg of a necessary project which should be much broader, studying landscape as a way of understanding the world, recognising its transformations and foreseeing its consequences.
This report is divided into two main parts. In the first one, I present the state of the art of the potential of landscape in cinema as an element of expression and meaning. Based on this, I analyse two Portuguese short fiction films, Bunker (Aguilar, 2015) and Through the Haze (Salgado, 2020), chosen for integrating and treating landscape not as a mere scenario of dramatic action, but as a singular entity endowed with agency and personality. In Bunker, the director characterises the landscape through a dark cinematography and underlines its importance in the overall structure of the film, as he distributes, in an exercise of accelerated editing, the same attention between bodies and landscape. In Through the Haze, the director uses the landscape, concrete and visible, as a metaphor for the characters' inner world, volatile and invisible. The landscape exerts its grip through silhouettes, textures and sounds, also becoming a character. Inspired by these two films, I directed the short fiction film Coast. Following similar principles in the way of looking at landscape, it shows the impact and the consequences of the erosion phenomenon which affects a vast expanse of the Portuguese coast. In the second part of the report, I describe the development path of this film, namely the pre-production, production and post-production phases. Coast is the tip of the iceberg of a necessary project which should be much broader, studying landscape as a way of understanding the world, recognising its transformations and foreseeing its consequences.
Description
Keywords
Paisagem Cinema português de ficção Bunker Noite turva Litoral Landscape Portuguese fiction cinema Through the haze Coast