Trilogy of Passion: Paulo Cezar Saraceni Reader of Lúcio Cardoso.

Author(s)

Livia Azevedo Lima

• Document type: Doctoral Thesis
• Press: São Paulo.
• Institution: Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA/SBD)
• Defense date: 2022-05-18

Examining board members

Mateus Araújo Silva; Luciana Sá Leitão Corrêa de Araújo; Marília Rothier Cardoso; Luís Alberto Rocha Melo; Ismail Norberto Xavier

• Advisor: Mateus Araújo Silva

Abstract

This work explores the relationships between Brazilian cinema and literature focusing on the readings that the filmmaker Paulo Cezar Saracei (1933-2021) undertook of the work of Lúcio Cardoso (1912-1968), including the latters prose fiction and cinema. We will concentrate on the films Porto das Caixas (1962), A casa assassinada (1972) e O viajante (1998). The three feature films resulted from the exchange between the filmmaker and the writer, whether through direct partnership (as in Porto das Caixas, whose treatment was written by Lúcio Cardoso) or through the film adaptations of the novels Chronicle of the Murdered House (1959) and O viajante (1973). Our analyses of the films will take into consideration a variety of other works and documents related to the creative process. Porto das Caixas will be examined in relation to both Lúcios treatment and vision of cinema, especially his unfinished film A mulher de longe (1949). In our analysis of A casa assassinada, we will consider both Lucios novel and Saracenis first screenplay for it, written in the early 1960s. As for O viajante, we will take into account the unfinished novel, published posthumously in an edition by Octavio de Faria, and the two screenplays Saraceni wrote for the film, in the 1970s and 1990s. The creation of the trilogy, rather than envisaged as a series, resulted from Saracenis insistence in revisiting Lúcios work. The filmmaker read and reread the novels in different historical contexts, to which the films respond to a greater or lesser extent. In order to assess this act of reading throughout time, we will focus especially on the female characters: the outsider in A mulher de longe, the anonymous woman in Porto das Caixas; Nina, Ana and Timóteo from A casa assassinada; Donana de Lara and Sinhá, from O viajante. The privileged focus on female characters, common interest between the writer and the filmmaker, will enable us to envisage the generational, aesthetics and ideological convergences and differences between Saraceni and Lúcio and how they are inscribed in the works themselves. (AU)

• FAPESP's process: 18/14804-8 - Trilogy of the passion: Saraceni reader of Lúcio Cardoso
• Grantee: Livia Azevedo Lima
• Support Opportunities: Scholarships in Brazil - Doctorate (Direct)