The poetry chews the film: cinema in the ecfrastic poetry of João Miguel Fernandes Jorge and Manuel Gusmão
DOI:
https://doi.org/10.25094/rtp.2020n29a658Keywords:
cinema, contemporary and modern portuguese poetry, ekphrasis, Manuel Gusmão, João Miguel Fernandes Jorge.Abstract
The purpose of this article is to discuss how cinema and poetry are configured in the poetic work of Portuguese authors Manuel Gusmão and João Miguel Fernandes Jorge. The central point of this study is the concept of ekphrasis, initially defined as a verbal representation of visual representation. This study will center the attention on two poems written from movies: Ordet, directed by Carl T. Dreyer, and Rosetta, from Jean-Pierre Dardenne e Luc Dardenne. Therefore, it must be taken into account that the invention of cinema itself offers a series of changes in the art scene, which leads to changes in the discussion about poetry when it finds in films the starting point for its composition. With this study, we noticed that the poets do not show intention of fidelity related to the source material.
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