Análise multimodal do suspense no cinema sob a perspectiva da Linguística de corpus: o caso Hitchcock
Data
2022-08-30
Autores
Valente, Tiago Marcondes 
Orientadores
Pinto, Marcia Veirano
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
A filmografia de Alfred Hitchcock, ainda que composta por diferentes gêneros cinematográficos, alcançou prestígio mundial pela capacidade de controle das emoções e da atenção do público, principalmente, em suas cenas de suspense. Quando essa manipulação emocional se une à expectativa e ao medo (cf. TRUFFAUT, 2004), tais cenas resultam em experiências memoráveis aos seus espectadores. Depois de dirigir uma série de filmes mudos, ao final da década de 20, o suspense de Hitchcock passa a incluir um novo elemento — o diálogo. O prestígio da obra hitchcockiana faz com que reverberações de seus métodos e técnicas possam ser encontradas no cinema de suspense até hoje. Nossa pesquisa, fundamentada nos pressupostos teóricos e metodológicos da Linguística de Corpus, busca desenvolver uma metodologia capaz de identificar possíveis mecanismos linguísticos e imagéticos na construção e no ápice do suspense, utilizando a obra de Alfred Hitchcock e seus filmes produzidos a partir da difusão do cinema falado como objeto de estudo. Para tanto, coletamos o Hitchcock Suspense Scenes corpus — HSS corpus, que reúne imagens das principais cenas de suspense de seus filmes mais premiados e aclamados pela crítica e pelo público. Sabemos, via literatura, que tal suspense é primordialmente construído pela edição das imagens, trilha e efeitos sonoros, além de, no caso dos filmes hitchcockianos, uma exploração da movimentação da câmera e dos olhares e gestos dos personagens. No entanto, dada a importância da fala no cinema e as diferentes funções dos diálogos nas narrativas cinematográficas (cf. KOZLOFF, 2000), alinharemos as metodologias propostas pela Linguística de Corpus com metodologias de análise de imagens — como as propostas por Kozloff (2000) — para verificarmos como as falas dos personagens contribuem para a construção do suspense em Hitchcock. Além disso, nossa pesquisa se beneficia de investigações anteriores sobre a linguagem dos diálogos cinematográficos, como aquelas produzidas por Veirano Pinto e Berber Sardinha (2019) e Veirano Pinto e Cortes (2018). Os resultados mostram que os elementos fílmicos que auxiliam a identificação do início e final de uma sequência de suspense são tanto verbais quanto imagéticos. Há sistematicidade no uso de enquadramentos e elementos essenciais para a narrativa nas cenas de suspense em Hitchcock, bem como nas funções comunicativas que subjazem as características lexicogramaticais pertencentes às dimensões de variação 1 (Marcas de Espontaneidade vs. Marcas de Planejamento), 3 (Posicionamento), 4 (Enfoque nas Relações Interpessoais) e 5 (Persuasão), bem como do polo negativo da Dimensão 2 (Argumentação), do cinema norte-americano (BERBER SARDINHA et al., no prelo).
Alfred Hitchcock's filmography is composed of different genres but achieved worldwide prestige especially because of its masterful suspense scenes, which manage to keep the audiences at the edge of their seat and control their emotions. When this emotional manipulation is coupled with expectation and fear (cf. TRUFFAUT, 2004), such scenes result in memorable experiences for the viewers. In 1929, with the movie Blackmail, Hitchcock adds a new element to his suspense scenes — dialogue. The prestige of Hitchcock's work means that reverberations of his methods and techniques can still be found in suspense movies today. So, the objective of this study is to develop a methodology, within the corpus linguistics framework, to identify verbal and visual mechanisms in the construction and climax of suspense, using some of Hitchcock's films produced after the popularization of talkies. To this end, we collected the Hitchcock Suspense Scenes corpus, dubbed the HSS corpus, which contains classic suspense scenes from his most awarded and critically acclaimed films. Literature claims that suspense is primarily built through the editing of images, the presence of soundtrack and sound effects, plus, in the case of Hitchcockian films, an exploration of camera movement and the characters' looks and gestures. However, given the importance of speech in cinema and the different functions of dialogues in cinematic narratives (cf. KOZLOFF, 2000), we will align the methodologies proposed by corpus linguistics to study movie language (VEIRANO PINTO; BERBER SARDINHA, 2019; VEIRANO PINTO; CORTES, 2018) with those of image analysis methodologies — such as that proposed by Kozloff (2000) — to verify how the characters' lines contribute to the construction of suspense in Hitchcock. Results show that the elements that help identify the beginning and end of a suspense sequence are both verbal and visual. Also, there is a systematicity both in the use of framing and essential narrative elements in Hitchcock's suspense scenes and the communicative functions that underlie the lexicogrammatical features belonging to Dimensions 1 (Simulated spontaneity vs. Planned discourse), 3 (Expression of stance), 4 (Interpersonal focus), 5 (Expression of persuasion), and the negative pole of Dimension 2 (Argumentative discourse) of North American movies (BERBER SARDINHA et al., in press).
Alfred Hitchcock's filmography is composed of different genres but achieved worldwide prestige especially because of its masterful suspense scenes, which manage to keep the audiences at the edge of their seat and control their emotions. When this emotional manipulation is coupled with expectation and fear (cf. TRUFFAUT, 2004), such scenes result in memorable experiences for the viewers. In 1929, with the movie Blackmail, Hitchcock adds a new element to his suspense scenes — dialogue. The prestige of Hitchcock's work means that reverberations of his methods and techniques can still be found in suspense movies today. So, the objective of this study is to develop a methodology, within the corpus linguistics framework, to identify verbal and visual mechanisms in the construction and climax of suspense, using some of Hitchcock's films produced after the popularization of talkies. To this end, we collected the Hitchcock Suspense Scenes corpus, dubbed the HSS corpus, which contains classic suspense scenes from his most awarded and critically acclaimed films. Literature claims that suspense is primarily built through the editing of images, the presence of soundtrack and sound effects, plus, in the case of Hitchcockian films, an exploration of camera movement and the characters' looks and gestures. However, given the importance of speech in cinema and the different functions of dialogues in cinematic narratives (cf. KOZLOFF, 2000), we will align the methodologies proposed by corpus linguistics to study movie language (VEIRANO PINTO; BERBER SARDINHA, 2019; VEIRANO PINTO; CORTES, 2018) with those of image analysis methodologies — such as that proposed by Kozloff (2000) — to verify how the characters' lines contribute to the construction of suspense in Hitchcock. Results show that the elements that help identify the beginning and end of a suspense sequence are both verbal and visual. Also, there is a systematicity both in the use of framing and essential narrative elements in Hitchcock's suspense scenes and the communicative functions that underlie the lexicogrammatical features belonging to Dimensions 1 (Simulated spontaneity vs. Planned discourse), 3 (Expression of stance), 4 (Interpersonal focus), 5 (Expression of persuasion), and the negative pole of Dimension 2 (Argumentative discourse) of North American movies (BERBER SARDINHA et al., in press).
Descrição
Citação
VALENTE, Tiago Marcondes. Análise multimodal do suspense no cinema sob a perspectiva da Linguística de corpus: o caso Hitchcock. 2022. 101 f. Dissertação (Mestrado) - UNIFESP, Guarulhos, 2022.