Resumen de O cinema de Fernando Meirelles: um ponto de vista tectônico
Maria Daniela Rosário de Alcântara
“City of God” (Brazil / France - 2002), “The Constant Gardener” (Germany / UK - 2005) and “Blindness” (Brazil /Canada / Japan - 2008) are three films from the Brazilian architect and film director Fernando Meirelles. In common,these three films originate from adaptations of literary works, but also, and more relevantly to the case, they mayreveal a way of conceiving the compositional cinematic space that seems to emerge from the very formation of thedirector as an architect.From the concept of tectonic, operated by Kenneth Frampton in “Studies in Tectonic Culture: The Poetics ofConstruction in Nineteenth and Twentieth Century Architecture” (1995), that refers the prevalence of the constructiveexpression over the pure spatial or abstract form, which characterizes the very essence of architecture, this articlewill seek to identify in the work of Meirelles how the construction of cinematic space has been established and howis the constructive expression manifested in its composition. Analyzing the composition and spatial relationships ofvarious scenes from the movies mentioned, there will be a search for an evidence of an “architectural” discourse,founded in a “tectonic” basis, inherent to the work of Meirelles, originating in his training as an architect.
