As Mulheres do Filme “As Horas” – Tessituras do Âmbito Feminino no Processo de Recepção

Resumo (EN)

The women in the film The Hours - interweaving of the fem1nine scope 1n the reception process - 1s a dissertation that aims at demonstrating the decisive influence of the masterpiece Mrs. Dalloway (1925) by Virg1nia Woolf 1n the adaptation of the novel The Hours (1998) by Michael Cunningham and in the film by Stephen Daldry that bears the same name (2002), for this cinematographic piece is the n1ain methodological support for the characterization of three female characters and their projection in the genre receptive process.
lt starts with a problematization, relating it to the path the literary works goes through until it achieves the motion picture in which the desires and anguish of three women - one of them being real and the other two fictional - are represented. The first one is the author of the book herself. who becomes a character in the time of The Hours. The second one is a literary production of the first who lives the conflicts of lave and abandonment in the temporal axis of the plot The third one is a contemporary creation v1ho fights with the past most of the time. with the remains · that the second character has left, thus assuming the role of the faithful lover object of the male desire Although the characters' complexity appears as an indexical way in the film, the problems lies on deciphering and interpreting the feminine subjectivity from which the woman determines her behaviors in real life, although in the fictional plot these identificatory models that are offered not always correspond to the expectations of the female spectators, in terms of themselves or of the genre to which they belong.
Thus, it may be considered relevant as a justification to offer an accurate reading of the original version of the books Mrs. Dalloway and The Hours. as well as the film narrative shooting script following the production and cinematographic language rules Each of the leading actresses and their distinguishing features are characterized through this enunciation issue. this is, the ones that project them on the screen. therefore acquiring personality or quality according to the merit of their actions. Female spectators possibilities are suggested according to the characters. their actions and social responsibilities in the building of a receptive culture towards genre.
The methodological procedures that guided this theoretical­bibliographic research. as its literary background. start from the reading. analysis and interpretation of the original literary work and its further adaptation The practical side of this research lies on the application of the reception aesthetic categories poiesis or techné. aesthesis and catharsis in some scenes chosen from the film The Hours where the three women leadership is vital to understand their actions sensitive origin in the narrative sequence in which each one of their personal traits are defined and the outcome where genre representations fate is projected.
As far as theoretical referential is concerned it is based on primary sources which include the already mentioned literary works This word intends to highlight the episodes that involve the English society in the literary context of modernism, as well as the adaptation of post-modernism from Anthony Burgess's book The English Literature (2006) and from David Harvey in The Condition of Postmodernity - An Enquiry into the Origins of Cultural Change (2005). We also consulted the work by Marcel Martin, The Cinematographic Language (2003) in order to fundament the production aspects that reinforce the film receptive effects in general and In selected scenes. From the thematic point of view. the books by Gilles Deleuze. Movement-lmage (2005) and The Time-lmage (2005) and the literary work by Andrei Tarkovsky Sculpting in Time (2002) where time and space are fused In favor of the appearance of an Image poetics were consulted To talk about women and the feminine social universe we searched through the work by Maud Mannoni. They Don't Know What They Say (1998). with the aim of getting to know how women love and behave. according to typical characteristics of their genre.
Therefore. the dissertation structure contemplates chapter one that deals with the English modernism, when the literary masterpiece Mrs. Dalloway appears, which influences the novel The Hours by Cunningham and its further adaptation to the homonymous movie by Stephen Daldry. The second chapter makes use of the audiovisual language in order to illustrate the film s most relevant motives and the application of receptive aesthetic categories to establish the 1mage of the three main actresses. And finally the third chapter interprets the main reasons women may have so as to identify themselves with the movie The Hours, with the situations lived in it or with the projections the film makes from genre social claims.
The dissertation does not intend to be exhaustive about any of the several themes it presents at any moment. However, what we would like to highlight about it concerns to the cinematographic language audiovisual mediations that interfere with the reception process, not only through the reviewers' point of view but also through the genre identification viewpoint. The purpose, in this case. consists of recognizing the woman s mage as artist and creator, wife and mother and friend and lover any sexual viewpoint for the projection of the feminine genre in the context of its actions in contemporary society.