A transposição midial: para além das cercas de São Bernardo

Abstract

The present work aims to analyze, within a comparative perspective, the adaptation of the literary to the cinematographic narrative. We understand adaptation as an extension of the source text, giving it the possibility of a new look at it, a reading in difference (STAM, 2008) and not a simple reproduction. Considering, therefore, this relaction between media - since we understand literature and cinema as media, in the sense of medium and support (MÜLLER, 2008) - we take the concept of Intermidiality (CLÜVER, 2006), which concerns not only what we still designate broadly as "arts", but also to "media" and its texts. Thereby, we understand that the comparison based on the trustworthiness between that narratives must not be considered as an absolute measure of valuation about adaptation of the literature by the cinema, because it is more about judging and stigma than category of analysis. Starting from the concept understood as an analytical procedure in the form of transposition from one media to another: media transposition, by Irina Rajewski (2012), this work will attention to the transposition of São Bernardo (2005), by Graciliano Ramos, for the cinematographic narrative of the same name, directed by Leon Hirszman. As our analysis is procedural, we focus on the treatment given by Hirszman in his re-reading of some previously selected scenes of São Bernardo (1972), as well as the meanings that these scenes can produce through the context of the film's production. The analysis of the production context of the adaptation will be of great relevance here in order to understand the effects that involve the transposition of one media to another because neither the product nor the adaptation process exists in a vacuum: they belong to a context - a time and place, a society and a culture - and so when a text migrates from the context of it s creation to the context of adaptation, the meaning and impact of the stories as well as their structural configuration can change radically (HUTCHEON, 2013). Considering the concept of Remembrance (BENJAMIN, 1987), we understand that Hirszman revisits Graciliano's narrative to recreate it, since the filmmaker takes a look at the past in order to propose, through Cinema Novo point of view, a change in the present, bringing to the discussion what happens to those who stand against the authority of the power system within the historical conjuncture of Brazil at the time of the production of the film: a time of violent repression to all kinds of contestation and resistance to the military regime. The concept of Walter Benjamin (1987) is also summoned by the look of Paulo Honório when he remembers his life to understand the direction it has taken. Addictionally, will also be analyzed the relationship of the protagonist with his wife Madalena and his employees on the farm, which translates to his praxis of farmer and northeastern colonel.