Da canção ao cinema: a tradução intersemiótica de olhos nos olhos em O Abismo Prateado

Abstract

This aim of this thesis was to analyze the intersemiotic translation process that took place in the recreation of the song Olhos nos Olhos (1976) by the Brazilian songwriter Chico Buarque de Hollanda, within the aesthetic procedures of the film O Abismo Prateado (2011), by the filmmaker Karim Aïnouz. Based on that, this work encompasses analysis on three situations in which both the female lyrical self of the song and the protagonist of the film experienced, which were: abandonment, distress and acceptance. In order achieve that, the data analysis of this research was executed in three steps: at first, the aesthetic resources used both in the song and in the film were characterized; then, from the apprehension of the general forms and the intracode present in both narratives, it was explained how the intersemiotic translation takes place between the semiotic systems of the songwriting and cinematic subjects, considering their similarities and differences; finally, the effects on meaning underlying the process of intersemiotic translation were interpreted. This research has, as its corpora, the two already stated artistic objects, being methodologically characterized as: qualitative, in terms of nature; descriptive and interpretive, in relation to the objectives; and bibliographic, regarding its technical procedures. Regarding the theoretical framework, this research was based on the studies of Peirce (2005), Pignatari (2004), Santaella (2005) and Coelho Neto (2010), theorists who cover Pierce’s theory of Semiotics. In order to support the intersemiotic translation theory, the assumptions of Jakobson (2007), Haroldo de Campos (2015), Thais Diniz (1999) and Julio Plaza (2013) were taken into account. Each semiotic system was also explained and supported, thus the studies of Luiz Tatit (1994; 2001; 2004) e Peter Dietrich (2008) regarding music theories and the assumptions of Martin (2005), Jacques Aumont (2012) e Bordwell; Thompson (2013) regarding the cinematic language were used. Through data analysis, it was verified that the cinematic format represents the process of intersemiotic translation by making use of audiovisual resources, such as: diegetic sounds, shooting angles, camera movements and the development of scenery. These resources intersect with the aesthetic use of the song, so that they can produce the effects of passionalização, figurativização and tematização, melodic distension, rhythmic attacks, among others. Nevertheless, it was concluded that the filmmaker Aïnouz drives his narrative to the approach of subjective and sensory aspects of the character, giving focus to her anguish and exasperation; while the songwriter Buarque exploits the phases of the character’s separation and also how she managed to overcome it all.