THE LANDSCAPOE OF ``UMA ESTRANHA PASSAGEM EM VENEZA`` DISCUSSIONS ABOUT LANDSCAPE IN CINEMA

• DOI: https://doi.org/10.22533/at.ed.5584192406063

• Palavras-chave: Landscape Philosophy; Narrative; Cinema and Architecture.

• Keywords: Landscape Philosophy; Narrative; Cinema and Architecture.

• Abstract:

  In Cinema, the landscape presents itself to the viewer in its complexity relative to the plot. The viewer, in turn, translates the images of this landscape through their own personal issues, which influence the way they perceive their spaces, because, in addition to the viewer's perceptive capacity, their knowledge, feelings and beliefs come into play, which in turn are shaped by historical, social and cultural aspects of the place. Thus, while the landscape is, in itself, a witness element of the story to be told and of its own history, the spectator (or observer) is also a witness to the processes that occur in the space presented to him, which redefine its meanings based on of the proposed diegesis. Thus, through analysis of the film: ``Uma Estranha Passagem em Veneza`` (The Comfort of Strangers), 1990, directed by Paul Schrader and based on the novel by writer Ian McEwan (``Ao Deus Dar``, 1981), we present discussions on interdisciplinary concepts, reflections and definitions, between cinema and studies relating to the philosophy of landscape, both as an element of observation and as a filmic element. To this end, we used reflections from authors such as Berque (2010), Simmel (2009), Lynch (2018), Aumont (1999), among others. The landscape in this case is the city of Venice (Italy), where the plot takes place. City destination for thousands of tourists who are attracted by its historic landscape. In this sense, Venice has its image transformed in the filmic conception, so that the destination landscape of (new) possible lives becomes configured as a landscape of death.