O Plano Cinematográfico como Espelho Intermidiático da Pintura nos Filmes o Poderoso Chefão, II e III (1974 E 1990), de Francis Ford Coppola

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DOI:

https://doi.org/10.33871/23580437.2023.10.01.199-208

Abstract

FRAMING THE MIRROR: INTERMIDIALITY IN THE GODFATHER II AND III (1974 AND 1990), BY FRANCIS FORD COPPOLA

ABSTRACT

From an intermedial perspective, this study is based on the hypothesis that some cinematographic frames are intermedial mirrors to some paintings, due to the visual resemblance between these. We mean specifically The Godfather II and III (1974 and 1990) by Francis Ford Coppola and the paintings Last supper (1594), by Tintoretto, Medusa (1595) by Caravaggio and the death of Marat, by Jacques Louis David. This paper aims to analyze the narrative context of the scenes to which the frames belong, which visual elements resemble certain paintings, as well as the story behind each painting and finally inquire if the purpose of the cinematographic narrative is related to that of the paintings. For this enterprise, we rely on the following theories: O poder da arte (2010), by Simon Schama, where the author analyzed the life and work of renowned artists like Caravaggio and David, O olho interminável: pintura e cinema (2004), by Jacques Aumont and O termo intermidialidade como ebulição by Irina Rajewski.

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Author Biographies

Taylla Maria Machado Sirino, Universidade Estadual do Oeste do Paraná

Universidade Estadual do Oeste do Paraná. Mestranda em Letras, área de concentração: Linguagem e Sociedade, pela UNIOESTE. Especialista em Cinema, com ênfase em Produção pela UNESPAR/FAP. Graduada em Letras pela UFPR. Integra o Grupo de pesquisa: Linguagem Literária e interfaces sociais: estudos comparados – UNIOESTE. 

Acir Dias da Silva, Universidade Estadual do Oeste do Paraná

Universidade Estadual do Oeste do Paraná. Doutor em Educação, Conhecimento, Linguagem e Arte pela UNICAMP. Na Universidade Estadual do Oeste do Paraná/UNIOESTE é Diretor do Centro de Educação, Comunicação e Artes –CECA e Professor do Programa de Pós-Graduação Stricto Sens em Letras – área de concentração Linguagem e Sociedade, na Linha de pesquisa: Linguagem Literária e Interfaces Sociais: estudos comparados. 

Crimes of Love (Common Sense) Hans Bellmer, 1961

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Published

2023-06-23

Issue

Vol. 10 No. 01 (2023): Art&Sensorium Vol.10 N°01

Section

Artigos

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Copyright (c) 2023 International Interdisciplinary Journal of Visual Arts - Art&Sensorium

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