A construção das memórias e do cotidiano familiar no espaço narrativo de seguindo em frente (aruitemo aruitemo)

Abstract

This study aims to analyze how the elements of filmic spatiality may assist in the construction of production of senses in a fiction feature film. The Japanese movie production Still walking (2008) by director Hirokazu Koreeda is the movie chosen to be examined by this thesis. The central modalities of investigation in this research are film spatiality, daily life and memory. We could verify that the presence of the first item is shown as required in any audiovisual production (MARTIN, 1990; GAUDREAULT; JOST, 2009); besides, its scenographic components (residence internal spaces, where the filmic plot is developed, furniture and scenic objects) are essential to narrative plot progress of the work in question. The relation of spatiality elements with feelings and senses (BACHELARD, 2008) of the characters is possible through the emotional connection developed during the previous stage of diegese; which result is perceived in the film. In addition they demonstrate that simple acts of day-byday are full of specific meanings (CERTEAU; GIARD; MAYOL, 2013; CERTEAU, 2014) captured in small details that provide opportunities to access old remembrance and memories (HALBWACHS, 1990; CAVALCANTE, 2014). All this "scenario" is shown in Still walking through a few specific takes, such as detail shot, tatami shot (YOSHIDA, 2003; NAGIB; PARENTE, 1990) and pillow-shots (LOPES, 2011; BURCH, 1992), that were managed to enable the integration of categories which we are providing highlight in this text and the feature film.