Abstract
The film “The Book Thief” (2013) – product of an adaptation of the same title Australian book under the direction of Brian Percival – is taken here as an object of study and analysis as an activity linked to the Study Group on Violence, Childhood, Diversity and Art (NEVIDA/UFG) and to the interinstitutional Art, psychoanalysis and education research: aesthetic procedures in cinema and the vicissitudes of childhood (GEPIAP). Therefore, this work aims to discuss the cinematographic work from the narratological elements: narrator and protagonist, as well as analyzing their developments, with emphasis on the encounter of the protagonist child with the Nazi regime and the omnipresence of the figure of the dictator Adolf Hitler, a meeting that precedes the others the narrative displays. The content of the film text invites us to reflect on the relationship between cinema and literature, the understanding of reading and writing as refuges from barbarism, the school at the service of Nazism, among other threads launched by the plot supported by aesthetic devices that will also be addressed in the film analysis anchored in the guidelines of Galiot and Leté (1994) and in the phenomenological perspective. It is also added as a theoretical framework Benjamin (1984; 1994), Truffatut (2005), Tarkovski (1998), Bowdell (2008) and Marcello (2008).
Highlights
The film “The Book Thief” (2013) – product of an adaptation of the same title Australian book under the direction of Brian Percival – is taken here as an object of study and analysis as an activity linked to the Study Group on Violence, Childhood, Diversity and Art (NEVIDA/UFG) and to the interinstitutional Art, psychoanalysis and education research: aesthetic procedures in cinema and the vicissitudes of childhood (GEPIAP)
This work aims to discuss the cinematographic work from the narratological elements: narrator and protagonist, as well as analyzing their developments, with emphasis on the encounter of the protagonist child with the Nazi regime and the omnipresence of the figure of the dictator Adolf Hitler, a meeting that precedes the others the narrative displays
The content of the film text invites us to reflect on the relationship between cinema and literature, the understanding of reading and writing as refuges from barbarism, the school at the service of Nazism, among other threads launched by the plot supported by aesthetic devices that will be addressed in the film analysis anchored in the guidelines of Galiot and Leté (1994) and in the phenomenological perspective
Summary
The film “The Book Thief” (2013) – product of an adaptation of the same title Australian book under the direction of Brian Percival – is taken here as an object of study and analysis as an activity linked to the Study Group on Violence, Childhood, Diversity and Art (NEVIDA/UFG) and to the interinstitutional Art, psychoanalysis and education research: aesthetic procedures in cinema and the vicissitudes of childhood (GEPIAP). Inclusive, uma cena majestosa que evidencia a transformação de Liesel, quando sua família e seus vizinhos ouvem a sirene - anunciando mais um bombardeio - e todos se dirigem para um abrigo, lá dentro a protagonista começa a narrar uma história de sua autoria, que de modo figurado abarcava sua relação com o amigo Max, pois agora, repertoriada de experiências de vida e de leitura ela assume um outro papel.
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