A hora da estrela de Lispector e Amaral: um stellarium intermidiático.

Abstract

From the reading of The Hour of the Star, this study represents the purpose of understanding the universe of the novel in focus, in dialogue with the film of the same name (AMARAL, 1985). This proposal implies a thorough search around Clarice writing Rodrigo SM writing Macabéa, three characters chained in a three-dimensional narrative, whose enunciation evokes not only our thoughts about them, but an attempt to build their reflections on themselves - both in the book and in the film, modalized to different medias. Our gaze turns to analyze the interpretative possibilities promoted by the cinematographic text, which includes the filmic reading of the narrator's feelings of imbalance and loss, of the reader's feeling of disconcert before the disconcert of Macabéa itself, confronting the reader/viewer with the treatment given by the cinematographic narrative to what would be the quality of the literary text and its superiority over the film. This stage prepares the subsequent one: to examine the dialogue of the cited literary text with the film of the same name by Suzana Amaral (1985), to study the migration of the word to the screen, always seeking to relate the different languages and the different media in focus. We have been searching, through a comparative bias (CARVALHAL, 2000), for a relation between the languages and supports analyzed, to try to understand how the different production conditions and strategies used in the media transposition allow the film to cast an illuminating look over Clarice's novel. This interrelationship aims to present another view on the literary/cinema pairs, reader/viewer about several reading stigmas, among them the necessary fidelity of the film reading (text-derivative) to the literary text (source text). At the interface of both narratives, we developed the comparative analysis between literary and filmic narratives as works that enlighten each other (RIBAS, 2014; 2016), using the studies of adaptation of literary texts (HUTCHEON, 2013) and having as a common thread the studies on Intermediality (RAJEWSKY, 2012) and (CLÜVER, 2007), more precisely the subcategory that deals with the passage of the book to the screen. It is on this path, therefore, that we will bring to light interpretative possibilities, in these countless voices arising from this multimedia dialogue, in which we investigate the narrative in its multiple references and configurations. We hope that, with the development of this study, we can understand the new product built from this dialogue, not only tracking similarities and differences between both media, but also understanding the treatment forwarded in the process of media transposition.