The presence of the cinema in the Brazilian novel: from modernist vanguard to contemporaneity

• Grant number: 18/23806-4
• Support Opportunities: Scholarships in Brazil - Doctorate
• Effective date (Start): April 01, 2019
• Effective date (End): March 31, 2023
• Field of knowledge: Linguistics, Literature and Arts - Literature - Brazilian Literature
• Principal Investigator: Arnaldo Franco Junior
• Grantee: Marília Corrêa Parecis de Oliveira
• Host Institution: Instituto de Biociências, Letras e Ciências Exatas (IBILCE). Universidade Estadual Paulista (UNESP). Campus de São José do Rio Preto. São José do Rio Preto , SP, Brazil

Abstract

The present research project aims to investigate the presence of language cinematographic in the Brazilian novel from the modernist avant-garde to the contemporary, choosing, for this, works that, in theory, could function as symptomatic of these relations: Amar, verbo intransitivo (1927), Caminhos Cruzados (1935), Perto do Coração Selvagem (1944), Em Câmera Lenta (1977), Bandoleiros (1985), e Eu receberia as piores notícias dos seus lindos lábios (2005). It is intended, from the reading of these works, to understand how theliterary writing re-elaborates the cinematographic strategies and dialogues with them. Therefore, we will reflect, based on a theoretical and critical instrument, to what extent the incorporation of Cinematographic procedures changed writing strategies in fiction prose, using, for this, the reflections of Hauser (1972), Epstein (1983), Clerc (2004), Shail (2014), between others. Based on these reflections, we will analyze the novels that constitute the corpus of this research, in order to evaluate their compositional strategies, such as space disintegration time, the incorporation of the montage and the repetitions and juxtaposition of scenes. The project hasas a thesis the idea that the dialogue with the cinema in the contemporary Brazilian novel differs modernist avant-garde, since, at the same time, idea of cinema in the form of the text and the difficulties of representation in a flooded universe the audiovisual sector, as well as to incorporate aesthetic experimentalism as a possibility of dialogue with the market. The perspective adopted is not about comparing two languages but to remain in the domain of writing and to investigate how it corroborates traces ofa language linked to iconic technology. (AU)