A representação feminina e as relações intersemióticas em Objetos Cortantes e Garota Exemplar

Este trabalho faz parte de uma pesquisa de iniciação científica , cujo objetivo é analisar a representação feminina na literatura, na televisão e no cinema, tendo como corpus as versões literárias de Objetos Cortantes (2006) e de Garota Exemplar (2013), ambas da autora Gillian Flynn, e suas versões sincréticas homônimas, que têm como organizadores respectivamente Jean Mark Vallée (2018) e David Fincher (2014). Percebe-se que todas as obras de Flynn, tanto nas versões literárias quanto nas sincréticas homônimas, há predominância de figuras femininas marcantes, como podemos perceber pela protagonista de Objetos Cortantes (2006), Camille Preaker, e de Garota Exemplar (2013), Ammy. Nessas obras, podemos observar que as personagens principais possuem pontos comuns, sendo que o principal é que ambas fogem aos constructos sociais e patriarcais da sociedade, mesmo que de formas diferentes. Diante disto, o nosso trabalho foi construído a partir da seguinte questão de pesquisa: Como se dão as relações intersemióticas nas obras de Objetos Cortantes (2006) e Garota Exemplar (2013) levando em conta a presença da figura feminina? Deste modo, objetivamos compreender como se configura a representação feminina nestas adaptações televisiva e fílmica das obras literárias. Este trabalho foi realizado a partir de uma metodologia bibliográfica, utilizando um aporte teórico que engloba Hutcheon (2011) e Martin (2006), os quais trazem considerações sobre relações intersemióticas e motivações econômicas para a construção de uma adaptação. Além disso, também utilizamos a obra organizada por Pinsky e Pedro (2012), que versa sobre a construção social e os papéis atribuídos à mulher através dos tempos.

Packaging House of Cards and The Knick: How talent intermediaries manage the indie-auteur brand to sell premium television

The article explores the migration of indie-auteurs to television during the 2010s. Using David Fincher and Steven Soderbergh’s work on House of Cards and The Knick as case studies, the article argues that talent intermediaries such as producers and talent managers have sought to mobilize the indie-auteur, a branded identity and authorial discourse, to package premium television programmes to exploit growing competition between channels and platforms. The article also explores repercussions of the indie-auteur’s insertion in television as a mark of distinction, arguing that it becomes increasingly important to be aware of the systems behind it.

Mastering of Fancy Meeting Reality: A Critical Exploration of Magical Realism with Reference to “The Curious Case of Benjamin Button” Directed by David Fincher

Apart from other art forms, cinema has an unquestionable potential to install new concepts and believes among the society. It has spread around the world, crossed the barriers of languages and communities and has traversed into the depths of social arena. The tool which caused an impact in the ethos, throughout the history is nothing but the new notions portrayed by the filmmakers. Cinema has overpowered the restrictions of the cultural borders and showed its power towards internationalism, which caught the mind of the viewers worldwide. The plot of a cinema often reminds us of things we perhaps already know, but may often forget, that is the beauty of storytelling. The world we see through a lens, is lot clearer than the real one, it takes people to other dimensions of perspective. This approach may be unfathomable to our sceptical minds, which always has an inclination towards disbelieves, but it is still worth the time to question our preconceived dogmas. Magical realism managed to touch the everyday life of the ordinary people through cinema, even though it appears in many fields of art and literature; there is not a single thing that is missing in Magical Realism. When a viewer look at an art work, if they could see beyond the picture of an inanimate object and grasp the depth of the concept which is hidden, through a unique vantage point, then that is the moment you appreciate Magical Realism.

PROJETO CAOS: CONSUMO E NIILISMO EM CLUBE DA LUTA (1999)

A sociedade contemporânea se destaca por sua natureza consumista, que de acordo com Lipovetsky (2005), criou um modo de vida centrado nos valores materialistas. Nietzsche, grande crítico da sociedade moderna, em seus estudos afirmava a morte de Deus, evidenciando sua menor influência na sociedade. O vazio na sociedade contemporânea que passa a ser preenchido por valores de consumo, norteando a vida do homem para a apreciação laica do sistema capitalista. O objetivo deste trabalho é analisar a relação entre a sociedade de consumo e a concepção niilista presente no filme Clube da Luta (1999) de David Fincher, descrevendo aspectos da teoria niilista de Friedrich Nietzsche que abordam os valores, a moral e a libertação do homem moderno e identificando o discurso crítico do filme sobre as relações de consumo em confronto com a máxima libertária do pensamento niilista.

Suggestive techniques of screenwriting: taboo and unpredictability

The subject of this research is the suggestive techniques of screenwriting on various level of perception of the movie, which engage the audience into cinematographic scene. The majority of movies reproduce the topic of social taboo, pulling upon the forbidden desires, and thus, instigating the audience. Such movies intend to distort the socially accepted moral and ethical restrictions, blurring the boundaries of the generally accepted standard. Alongside the violation of social taboo, one of the most important elements of drawing attention of the audience is unpredictability, used in dramaturgy to create an effect of incompleteness of story and the desire to reveal it. The research is based on the analytical and comparative methods, which allow analyzing particular effects intended by the author at the conceptual and dramaturgical level of the screen work. As a suggestive dramaturgical element, unpredictability can be reflected as a deferred event or a unpredictability  that forms the screen image and character of the hero. Analysis is conducted on the movies “The Return” (2003), “Loveless” (2017) directed by Andrey Zvyagintsev; “Fight Club” (1999) directed by David Fincher; “The Departed” (2006) directed by Martin Scorsese; “Melancholia” (2011) directed by Lars von Trier. The research result consists in characterization of the modern trend of preserving unpredictability within a narrative structure of the movie to maintain non-triviality of the storyline.

Communicative Situations within the Framework of Business Discourse

In this article a notion of a situation within the framework of communication is given, the most comprehensive communicative models are under consideration and a comparison of communicative and referential situations is represented. The article is aimed at giving an overview of the types of communicative situations, which take place under the frame of business discourse and to outline their models. The demonstrative examples were withdrawn from the following films: “Social network”: David Fincher, 2010 and “Jobs”: Joshua Michael Stern, 2013.