No Quarto de Vanda e a trilogia de Fontainhas de Pedro Costa: plasticidade, documentário, história encontrada.

Authors

  • Miguel Angel Lomillos UNIVERSIDADE FEDERAL DO MARANHÃO - UFMA

DOI:

https://doi.org/10.22475/rebeca.v6n2.474

Keywords:

Cinema Realista, Documentário, Vídeo Digital, Teorias de Bazin e Kracauer

Abstract

 

Resumo

            A introdução do equipamento de vídeo digital em No Quarto de Vanda (2000) trouxe para o cineasta português Pedro Costa um método de trabalho mais livre e independente, bem como um novo estilo e uma poética singular.A tentativa de qualificar esta nova dimensão da obra de Costa é feita a partir de três eixos: a plasticidade e a influência do cinema dos primórdios, a tradição do cinema documentário e as teorias realistas de André Bazin e Siegfried Kracauer.

 

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Published

2018-07-24

Issue

Vol. 6 No. 2 (2017)

Section

Dossier

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