Uma análise intersemiótica da obra Ventos de quaresma e a adaptação cinematográfica Vientos de la Habana

Abstract

This monographic work will analyze the construction of the character Mario Conde, detective of the work Ventos de Quaresma, written by Leonardo Padura Fuentes, and protagonist of the cinematographic work Vientos de La Habana, directed by Felix Viscarret. For the analysis to occur in a concise manner, we rely on some theorists of the police genre, as well as on the theory of adaptation. In the field of the police novel, Sandra Lúcia Reimão (1983) brings the trajectory of the police genre, Tzvetan Todorov (2006) highlighting the noir style and also the twenty rules of the police novel, Daniel Link (2002), characterizing the police novel as social critic and politics and Fernanda Massi (2011) that deals with the contemporary police novel, as well as the transformations of the detective in this process. Thomas Leitch (2003) criticizes the term fidelity in one of the twelve fallacies on the theory of adaptation, and Linda Hutcheon (2003) discusses the prejudice suffered by adaptation when characterized as faithful or unfaithful to the literary work. 2011) that explores the various contexts in which an adaptation may be embedded and how much it will transform both the plot and the detective. The analysis of the literary work happend through the investigation of narrative elements that confirm the personality decadent of the detective, composed by the melancholy and solitude, feelings attributed to the personage. Already in the cinematographic work we will identify the resources used in the plot so that the melancholic and decadent character is evidenced.