Banca de DEFESA: RINGO STAR DE HOLANDA CAVALCANTE

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : RINGO STAR DE HOLANDA CAVALCANTE
DATE: 30/08/2021
TIME: 15:00
LOCAL: online
TITLE:

Franken(stein)weenie: The rewriting of the Gothic by Tim Burton

KEY WORDS:

Tim Burton. Gothic. Cinema. Frankenweenie.

PAGES: 90
BIG AREA: Lingüística, Letras e Artes
AREA: Letras
SUBÁREA: Literaturas Estrangeiras Modernas
SUMMARY:

Abstract: Filmmaker, writer, director and multiartist, Tim Burton has built, in his films, drawings, narrative poems and novel, a unique narrative project. His sources of inspiration are the gothic, fantastical and fairy tale narratives (SOARES; SIMÕES, 2008; NABIS, 2010), with children and young adult literature’s appeal as an evident trait in his creations. Hence, Burton realizes his author’s mark, in which, recurringly, the aspects of the gothic are highlighted, acquiring a new apparel by revisiting classics from literature and the horror cinema, faring from a peculiar perspective: that of children’s imagery. With specific focus on the Frankenweenie (2012) feature film, this study sets off from the hypothesis that Burton appropriateselements already crystalized in the gothic narrative, imbuing them with a new configuration and generating, in this process, innovative effects. Here I follow a line which accompanies the history of the gothic’s conception, especially in the field of literature (CUDDON, 1999), observing its outlines while literary genre and also paying attention to its elements and effects (GROOM, 2012), in order to, then, reach the perception of the gothic as a literary mode (CUDDON, 1999; SÁ, 2019). These considerations subside the analytic part of the study, which is organized through three focal points: the figuration of individual and collective fear (DELUMEAU, 2009), observed, in the diegesis, in its relation to the gothic (LOVECRAFT, 1987) and the dystopian (KUMAR, 1987; CLAEYS, 2017); the representation of the dead body and its capacity of generating the fear of death in the individual and collective imagery (BLOCH, 1995; TUAN, 2005);  then, finally, an exploration of the post-modernist aesthetic of the emphasized work, done in the light of the concept of pastiche (COPATI; LAGUARDIA, 2013; FERNANDES; HUTCHEON, 1989; MAGALHÃES, 2018; SALES, 2020), and in association with two cinematographic elements – the matrix and the mise-en-scène (CORTEZ et al 2006). This study reassesses the contemporary reconfigurations of the gothic, identifying and reflecting on the forms from which the rewriting of the gothic narrative, such as realized by Burton, renovates such aesthetics, provoking singular effects, like the awakening of empathy in young readers towards otherness, metaphorized, in the film, through the monstrous. Finally, I stress this dissertation’s contribution to the studies aligned with contemporary (re)readings of the gothic; to the critical fortune on Tim Burton; and to the area of cinema studies, more specifically in the field of animations aimed at children and young adult audiences.

BANKING MEMBERS:
Presidente - 1121063 - ILDNEY DE FATIMA SOUZA CAVALCANTI
Interno - 2581726 - MARCUS VINICIUS MATIAS
Externo à Instituição - DANIEL SERRAVALLE DE SÁ - UFSC