A tradução do fluxo de consciência literário na trilha musical do filme The Hours

Abstract

This dissertation aims to analyze the The Hours (2002), a film adapted from the homonymous novel written by Michael Cunningham (1998). In the book, the stream of consciousness is utilized to represent the inner perception of the characters. To translate the technique, the main challenge in the adaptation process, according to the screenwriter David Hare (2002), flashback and voice-over were avoided. Instead of describing thoughts, the movie transforms subjectivity in external actions, through dialogues and the characterization of the actors. Our hypothesis is that the score, composed by the American musician Philip Glass, is the filmic element that suggests the expression of the stream of consciousness in the movie. Not only the post-minimalism aesthetic is close to concepts of the stream of consciousness fiction, but also the way the music intertwines itself with images. This way, we try to articulate ideas by authors of literary theory (Wood, 2012; Humphrey, 1979), musical studies (Gorbman, 1987; Ross, 2009) and visual culture (Mitchell, 1986; Rancière, 2009) to deal with the relationship between text, moving image and sound. We consider these elements are in constant convergence in contemporaneity, since literature, cinema and music are inserted into a world where there is a constant displacement between the instances of the speakable and of the visible, in which forms and materialities are constantly mixing up.