As relações intersemióticas entre o roteiro cinematográfico e a película Mamma Roma (1962) de Pier Paolo Pasolini

Abstract

This dissertation, of a bibliographic and descriptive nature, falls within the field of Translation Studies, focusing on the investigation of the transformations that occur when transposing the screenplay of Mamma Roma (1962)—published in Per il cinema, Vol. I (2001a)—into Pier Paolo Pasolini’s filmic language. It adopts as its theoretical framework chiefly Translation Studies and, in particular, Jakobson’s (1959) notion of intersemiotic translation, alongside the contributions of Plaza (2013) and Nida (1969). With a descriptive and qualitative approach inspired by Gil (2017) and Toury (1995), a comparative analysis was carried out between passages of the source text (the screenplay) and selected sequences of the target text (the film), demonstrating how the cinematic production does not merely reproduce the screenplay mechanically but makes creative decisions that enrich its signification. Furthermore, the study sought to identify intratextual factors (screenplay structure, narrative dimensions) and extratextual factors (cultural context, producers’ intentions) that guide the film as a linguistic manifestation and as an artistic and cultural product, also evaluating the effect of its semiotic choices. The investigation of this corpus proves relevant to both Translation Studies and Pasolinian Studies in Brazil, given the exploratory character of Pasolini’s relatively underexamined cinematic writing. In his case, the screenplay cannot be defined merely as a disposable tool after the film’s completion; rather, it becomes an artistic object akin to literature and theater, drawing from reality the apparatus necessary for its creation. From the perspectives of Eco (2007;2016;2019) and Stanislavski (2012), it was concluded that the gaps left by the screenplay are creatively filled by performance and authorial decision, configuring intersemiotic translation as a creative act in which the screenplay guides but does not constrain—opening the work to the actor’s interpretive participation and casting the actor as a “translator–abductor.” Finally, by demonstrating the relevance of both intratextual and extratextual aesthetic factors—cultural as well as scenic—and the enunciative intentions of the production and post‐production agents, the study concludes that Pasolini’s poetic singularity resides chiefly in his structuring of cinematic discourse, endowing both the screenplay and the film with an autonomous literary and artistic value.