TRILHAS POÉTICAS DO OLHAR: O PENSAMENTO-PAISAGEM E A METAFICÇÃO NO FILME “NA NATUREZA SELVAGEM”

Abstract

This paper aims to analyze how the film Into the Wild (2007) expresses, through photography, aspects of landscape-thought described by Collot (2013) and how the building of the character Christopher McCandless presents traces of metafiction from Bernardo's perspective (2010). Written and directed by Sean Penn, the film was inspired by the true story of Christopher Johnson McCandless, which was told in the book of the same name, by Jon Krakauer (1998). Refusing everything that referred to his past before embarking on an adventure to Alaska as its final destination, the young American assumed a new identity: Alexander Supertramp. Therefore, it is an idealistic and obstinate character who finds the real meaning of his life on the road and in the landscapes of wild Alaska. It was this cinematographic scenario that led us to Collot's landscape studies, which present the thought-landscape category as a reciprocal relationship of integration between rationality and meaning, subject and space, and culminates in an essentially human experience of looking at a given place and finding in him a way of thinking about himself and the world. Metafiction is understood here as the echoes of fiction within fiction, i.e., a story that, despite having echoes, in fact, does not hide that it is fiction and is self-referential. Our analysis examines twenty frames, and this method is called by Aumont and Marie (2013) a citational instrument. It was found, therefore, that the object of study allows consistent approximations between its elements and the theories studied.