A presença constante da Segunda Guerra Sudanesa no filme O que ficou para trás (2020)
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Tipo
Artigo
Classficação
Nível teórico
Data
2021
Título do Períodico
Travessias
ISSN
1982-5935
Página(s)/e-location
21-33
Idioma(s)
en
Fonte
Fonte
Cascavel, PR
15
2
maio/ago.
15
2
maio/ago.
Coleções
Resumo
O filme de terror da Netflix, O que ficou para trás (2020), foi dirigido por Remi Weekes, produzido por Aidan Elliott e baseado na obra de Felicity Evans e no roteiro homônimo de Toby Venables. Esse filme narra a jornada de um casal de refugiados do Sudão do Sul, Bol e Rial, desde sua fuga da Segunda Guerra Civil até a sua chegada à Inglaterra em busca de uma nova vida. Em consonância, a Associação de Psiquiatria Americana (APA) vem destacando que os indivíduos com sinais de transtorno de estresse pós-traumático (TSPT) podem revelar 4 tipos de grupos sintomáticos: 1) Intrusões, 2) Evitações, 3) Negações e 4) Hiperexcitação. Por sua vez, o diretor, Weekes, conseguiu utilizar uma infinidade de técnicas cinematográficas (BUCKLAND, 2015, DITTUS, 2013; GIANNETTI, 2001) para representar os mais variados sinais de TSPT de seus protagonistas. Entre as muitas técnicas cinematográficas aplicadas, Weekes (2020) explorou com maestria a mise-en-shot, a iluminação e o cenografia. Como resultado, os espectadores foram capazes de identificar criativamente uma panóplia de representações cinematográficas de TSPT como, por exemplo, as recorrentes invasões nos sonhos de Bol e as intermináveis fugas mentais de Rial em relação à filha. Além disso, Weekes (2020) conseguiu humanizar seus protagonistas por meio de suas incessantes negações acerca da Segunda Guerra Sudanesa e de suas fracassadas tentativas em conduzir uma nova vida na Inglaterra. Através das técnicas cinematográficas meticulosamente escolhidas, a jornada narrativa do casal refugiado, Bol e Rial, ficou ainda mais tortuosa, muito mais complexa e intensamente mais realista.
The Netflix horror movie His House (2020) was directed by Remi Weekes, produced by Aidan Elliott, and based directly on Felicity Evans as well as Toby Venables’ homonymous screenplay. It displayed a South Sudanese couple, Bol and Rial, who fled their country’s second civil war to England in pursuit of a new British life. For seriatim, the American Psychiatric Association (APA) have highlighted that post-traumatic stress disorder signs (PTSD) individuals could reveal 4 key symptomatic clusters: 1) Intrusions, 2) Avoidances, 3) Negations and 4) Hyper-arousal. The director, Weekes (2020), could apply a plethora of cinematographic techniques (BUCKLAND, 2015, DITTUS, 2013; GIANNETTI, 2001) to represent his protagonists’ various PTSD signs. Among the many cinematographic techniques applied, Weekes (2020) explored masterfully the mise-en-shot, the lighting and the set design. The spectators were able to identify the clear PTSD cinematic representations such as Bol’s recurrent dreaming intrusions to his psyche as well as Rial’s subsequent avoidances toward her daughter. Moreover, Weekes (2020) unveil his main characters’ flawed characterization through their own negations of their surroundings and high expectations of their new British lives. Through the meticulously chosen cinematographic techniques, the downtrodden couple Bol and Rial’s narrative journey got even stonier, by far more complex and intensely less melodramatic.
The Netflix horror movie His House (2020) was directed by Remi Weekes, produced by Aidan Elliott, and based directly on Felicity Evans as well as Toby Venables’ homonymous screenplay. It displayed a South Sudanese couple, Bol and Rial, who fled their country’s second civil war to England in pursuit of a new British life. For seriatim, the American Psychiatric Association (APA) have highlighted that post-traumatic stress disorder signs (PTSD) individuals could reveal 4 key symptomatic clusters: 1) Intrusions, 2) Avoidances, 3) Negations and 4) Hyper-arousal. The director, Weekes (2020), could apply a plethora of cinematographic techniques (BUCKLAND, 2015, DITTUS, 2013; GIANNETTI, 2001) to represent his protagonists’ various PTSD signs. Among the many cinematographic techniques applied, Weekes (2020) explored masterfully the mise-en-shot, the lighting and the set design. The spectators were able to identify the clear PTSD cinematic representations such as Bol’s recurrent dreaming intrusions to his psyche as well as Rial’s subsequent avoidances toward her daughter. Moreover, Weekes (2020) unveil his main characters’ flawed characterization through their own negations of their surroundings and high expectations of their new British lives. Through the meticulously chosen cinematographic techniques, the downtrodden couple Bol and Rial’s narrative journey got even stonier, by far more complex and intensely less melodramatic.
Descrição
Palavras-chave
O que ficou para trás (2020), A Segunda Guerra Civil Sudanesa, Narrativa cinematográfica, His House (2020), The Second Sudanese Civil War, Cinematographic techniques
Citação
PLACIDO, Carlos Eduardo de Araujo. A presença constante da Segunda Guerra Sudanesa no filme O que ficou para trás (2020). Travessias, Cascavel, PR, v. 15, n. 2, p. 21-33, maio/ago. 2021. https://doi.org/10.48075/rt.v15i2.27640. Disponível em: https://e-revista.unioeste.br/index.php/travessias/article/view/27640. Acesso em: 2022-02-21