Podem poemas ser “filmes cinematógrafos”?

• Autores: Diana Pimentel
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 315-322
• Idioma: portugués
• Texto completo no disponible (Saber más ...)
• Resumen

  • I would like to underline this words of Robert Bresson: “film of cinematograph, where expression is obtained byrelations of images and sounds (and not by mime, gestures, intonations of voice by actors or not actors. That doesnot analyze or explain. That recomposes. “(in Notas sobre o Cinematógrafo, 2000: 20).Starting with the statement of Ruy Belo that“The influence of cinema is evident in this book, more than any other of mine. Even realistic poemsas “Men of the pier” and “Dock workers” have been written inspired on slides, with the field ofgaze already clearly defined. But “Humphrey Bogart” and especially “No way out” or “Addiction tokill” and “Splendor in the grass” are poems where cinema taught me to see.” (Belo, Ruy (1997).“Of how a poet does not think there is mismatched with the publication of this book” [1978] bookHomem de Palavra[s], Lisbon, Editorial Presença, 25-34.)I intend to observe how some poems in this book show how literature questions – in act, by writing – the ability ofwords to engender (photographic and cinematically) “device effects” which are “motion effects,” those who “of theviewer Lumière-spectacle feel” (Grilo, 2006: 15). In the relationship between poetry and cinema, I would like toask – considering some poetry of Ruy Belo, or some references by Carlos de Oliveira, included in his book PoeticWork, and in some poems of Herberto Helder’s poetry – if a poem can be “pure cinematic creation, manifested in theproduction of movement and time and its own reciprocal shaking” (Grilo, 2006: 15). Following the idea contained inthe verses of Carlos de Oliveira that “the poem / filters each image” (1982: 133), and the formulation that “cinema”is that “uncertain radioscopy / like us” that captures “every image from outside / attached to the photogram that hasbeen” (1982: 98), it seems to me to be relevant to question the relationship between poetic composition and filmediting and above all, it seems to me crucial to question to what extent can this film be “cinematograph cinema,where images such as dictionary words, have no power or value except for its position and relationship” (Bresson,2000: 21). Accepting the premise that “cinema is precisely the plan in which literature can think and see itself in itsrelation to all other things and also with all other arts, starting with literature itself” (Grilo, 2006: 111), I intend to askin this work (in the inverse perspective of the statement that “cinema does not film books”; Grilo, 2006: 108): canpoems be “cinematograph films”?