Das páginas para a tela: a transposição do detetive Mario Conde em Máscaras

Abstract

From the perspective of Interart Studies, this dissertation has as research object two works, the Cuban novel entitled Masks (1997) by writer Leonardo Padura Fuentes and the third chapter of the miniseries Cuatro Estaciones en La Habana (2016), entitled Masks, directed by Félix Viscarret for the streaming platform Netflix. With the study of the two works, we seek to present how the process of construction of the character of the detective Mario Conde occurs throughout the literary and cinematographic works, as well as discuss history and society. Furthermore, the proposal will also contextualize how the transposition from the pages of Padura's novel to the screen occurred, as well as highlight the literary and cinematographic resources that help in the process of understanding the work and the character. The methodology used consists of a comparative analysis, based on critical-theoretical sources. As a theoretical presupposition, we sought foundations in Inter-Art Studies, based on the theories of adaptation, on the construction of identity, and on the elements of the police narrative itself. We used authors such as Linda Hutcheon (2011), Thais Flores Nogueira Diniz (1999; 2010), Robert Stam (2006; 2013), Clüs Clüver (1997; 2006) in the scope of Inter-Arts Studies; Stuart Hall (2015), David Harvey (year) on identity and its fragmentation; Sandra Lúcia Reimão (1990), Fernanda Massi (2011), Mempo Giardinelli (2003), Àlex Martín Escribá and Javier Sánchez Zapatero (2007), Francisca Noguerol Jiménez (2006), P. D. James (2009), regarding the detective novel, among other authors relevant to the study. That said, the analysis of this work presents the relevance of studies between cinema and literature, besides highlighting issues of the evolution of the detective genre and the aspects of contemporaneity in both works. The results obtained are relevant, since they present a detective who is affected by society, violence, and lack of empathy. These aspects cause the character to misunderstand his identity and present himself as a fragmented subject. In the transposition from literary work to film, the director had the writer's help when writing the script. In view of this, in the film it is possible to identify similarities between the characters at the moment of its construction, however, because it is another media, cuts and interpolations (verbal and visual) are necessary. Therefore, the adaptation presents significant changes, thus reinforcing the idea that the film is a new work that adapts literature in the best way for the new media, and as a consequence, reproduces a new fragmentation in the identity of the detective Mario Conde.