Full text
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| Author(s): |
Gabriel Kitofi Tonelo
Total Authors: 1
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| Document type: | Master's Dissertation |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2012-00-00 |
| Examining board members: |
Antônio Fernando da Conceição Passos;
Marília Silva Franco
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| Advisor: | Fernão Vitor Pessoa de Almeida Ramos |
| Abstract | |
This work intends to analyse german filmmaker's Werner Herzog documentary ouevre, under the optics of the director's voice and body self-reflexion in his documentaries and the relationship between Herzog and his narratives in each work. It tries to establish how this characteristic was born in his filmography and how it has evolved through five decades of his activity as a film director. Herzog's participation in his films is related to theories of Documentary Film concerning the reflexivity of the author in the filmic narrative. Going from questions arised in the late 1950's about the participation of the director in the documentary (Cinema Vérité) to questions related to a profoundly self-referrent documentary narrative popularized in the 1980's, one can say that self-reflection is a subject-matter that is still alive in documentary film theory, being constantly problematized and renewed in contemporary documentary production (AU) | |
| FAPESP's process: | 10/03405-3 - Werner Herzog, documentarist: figures of voice and body |
| Grantee: | Gabriel Kitofi Tonelo |
| Support Opportunities: | Scholarships in Brazil - Master |