Sequence 4

Taciana’s story – 4.1. beach and town

82 – Detail of fish that agonizes /
83 – Detail of boat on the beach, from bottom /
84 – Boy with fish who comes forward and gets out of frame on the right /
85 – Hands of fishermen that count money /
86 – A hand takes water from the boat /
87 – Detail of a basket from top, from which a fish is taken. A shadow enters the scene from the right and the basket is raised. In scene only the shadow /
88 – Detail of the boat, from bottom /
89 – LS of the beach /
90 – Travelling forward over a fountain /
91 – Group of houses laid down /
92 – Woman in MS washing. Right-left pan over the road with chickens /
93 – Travelling forward over the fountain for three times /
94 – Bridge /
95 – Group of houses with cars wheel in CU /
96 – Travelling forward over the fountain for five times /
97 – Detail of the roof. Left-right pan, repeated oscillations for three times over the roof and quick left-right pan over the town’s houses /
98 – LS of the beach. Taciana leaves from within the group of people, being overtaken by a mulatto woman who gets out of frame on the left /
99 – LS of the road. A truck passes by. Taciana is shown moving away /
100 – Travelling forward from top over the tree leaves and Taciana who passes by and moves away /
101 – Detail of the basket followed by travelling forward /
102 – Detail of the basket fuller followed by travelling forward /
103 – LS of the empty road. Taciana enters the scene from the left and moves away /
104 – Detail of Taciana’s back who moves away followed by travelling forward up to the house’s door and enters. Travelling forward and left-right pan up to framing all the door, then top-bottom pan over its inferior part /

With fusion the agonizing fish shot follows [82] which morphologically foreshadows the following shot of the boat. Fragelli points out how Raul, an earth being in water, melts himself with the fish, water animal on earth, pointing out at the ideal of death due to the non correspondence between individual and environment. Travelling over the entrance of a fountain follows [90], which is the first of a series that follows. The laid down shot [91] of the facade of a mansion comes. Afterwards, a pan [92] that moves the attention to a woman who washes clothes on the road, returns to the travelling over the fountain, a kind of zoom, with a reiterative precise intention, presented initially for three times [93], interleaved by the shot of a bridge and of a group of houses seen through a wheel, and afterwards repeated other five times [96]. The pan [97] over the roofs associates rhythm of diverse speeds. The beach returns and Taciana is distinguished from the group of extras [98]. We recall that on the first story the contact with the protagonist had been immediate (see [39]). Taciana is overtaken by an extra and after the fusion into the road [99] she appears after the passing of a truck which is the first element that gives movement to the road which had always been empty. Taciana is seen from top after having passed by the tree branches until moving away afterwards [100]. The extra, the truck, and the leaves are screen elements that lie in-between the spectator-Taciana relationship. The detail from the top of the basket almost empty [101] fuses with the detail of the full basket [102] which diminishes the speed of Taciana’s walking. At this point a change in the music occurs. The empty road shot, from the characters entering into frame and their moving away [103], recalls Olga’s story (see [41]). From the focus loss of Taciana’s shirt on her back, the camera goes travelling forward and following Taciana’s walking until she enters home (thus getting out of frame) and continues autonomously up to the detail of the door waiting for a certain period of time [104]. Cut.

Taciana’s story – 4.2. meeting with the man in the house

105 – From the top of the stairs a man on his back. Taciana enters the house and stops at the bottom of the stairs, looking at the man /
106 – From top, woman in MS who stares /
107 – From bottom, man sitting on the stairs /
108 – Detail: hand with a wedding ring /
109 – From top, Taciana in AS who bends her head /
110 – From bottom, AS of Taciana leaned on the handrail /
111 – From the top of the stairs, both of them. Taciana leaves the basket, moves away and leaves /
112 – Detail: cover of a musical notation /

The shot from the top of the stairs introduces a man with a hat seen from his back and the empty room [105], then Taciana enters and stops at the bottom of the stairs. Therefore, chronologically speaking, this shot should precede that one of the door in which Taciana had already entered the house. This is an anti-elliptical device through which it is preferred to make a time regression when there is a change in space. For the first time in the story course, Taciana clearly shows her face [106], then also the man’s face seen from bottom [107] and the detail of the man’s hand with the wedding ring [108] which, reminding the woman about the ominous marriage, assumes the function of a handcuff. Olga is framed firstly from top [109] and afterwards from bottom [110], with hand leaned on the handrail, a kind of bar of a imprisoning situation (see [39]). The shot of the beginning of the sequence with Olga leaving through the door comes back [111]. The detail of the musical notation [112] with a drawn cover connotes the man’s imaginary quality, pianist. Cut.

Taciana’s story – 4.3. escape from the house

113 – Door closed. Taciana leaves. Left-right pan follows her up to her getting out of frame on the right /
114 – LS of the road, from top. A man on the left and Taciana on the right enter the scene and come closer to each other, stopping one in front of the other /
115 – Both of them and a telegraph pole from bottom /
116 – LS of the road from top.
117 – LS of the road. Taciana walks, followed by the travelling forward and comes closer to a girl. Left-right pan up to a bamboo fence and top-bottom pan over the detail of a flower /
118 – LS of the empty road in diagonal with the grass. Taciana enters the scene from the left and afterwards leaves it on the right.

The detail of the closed door returns (see [104]), with Taciana leaving [113], replacing the above mentioned anti-elliptical discourse and underlining the spectator-camera expectation that follows her. The road from the top is interweaved with diagonal lines: sidewalks, walls, telegraphic wires. All elements evoke limits: windows with bars, closed doors, the same walls. The meeting with a man on the road is framed with an exasperate angle from bottom and the presence of a telegraph pole [115]. A LS comes back, from which both of them get out of frame [116]. A micro-sequence shot begins [117], analogous to that of Olga’s escape (see [44]), where the camera lets Taciana move away, who meets a girl and afterwards wanders from her, now to the left, towards a flower. This time the road is crowded. Moreover, Taciana is a more social character, in contact with several people (extras on the beach, husband, man on the road, girl). The diagonal road with bamboo, a kind of natural telegraph poles, is empty. Taciana enters the frame [118], preceded by her shadow, and gets out of frame with the habitual usage of the camera arriving to the place before the action and remaining there after it. Fusion.

Taciana’s story – 4.4. thoughts of Taciana

119 – Rock
120 – Rock closer
121 – Rock still closer
122 – CU of Taciana who looks at the sea and around /
123 – Taciana on her back before the sea /
124 – CU on Tacianas face. Travelling forward over her mouth /
125 – MS of Taciana on her back before the sea. Left-right pan over the landscape: afterwards, for five times the camera describes an inverted 8 and for four times it makes a 360º turn and quick pan in right-left direction.
126 – LS with Taciana far away beside a thicket /
127 – AS of Taciana on her back from top. Left-right pan over the sea.
128 – Shadowy sea
129 – Sparkling sea
130 – DS of the pianist’s hands over the keyboard
131 – BCU from bottom of the pianist’s face
132 – Detail: man’s feet facing forward
133 – DS of glass. A hand enters the frame from the left which holds it and replaces it in this place
134 – Sparkling sea
135 – Shadowy sea
136 – Clearer sea. Right-left pan over Taciana /
137 – Detail: tree on the water /
138 – Detail: thicket /
139 – DS of tree on the water
140 – LS with Taciana on a rock in profile

The fusion of the rock’s shot [121] into CU of Taciana [122] resembles that one of the sequence 0 opening – prologue (see [10] and [11]). Taciana, however, does not look at the spectator as Olga in the protoimage, but keeps looking downwards towards the sea, then looks around and again at the sea with hair free to the wind. The framing of Taciana in AS from behind, before the sea [123], with the shirt to the wind, which contextualizes the character, resembles that one of Olga isolated on the boats prow (see [80]). Taciana in CU [124] is desperate and there is a travelling forward up to the detail of the mouth and nose. Returning to Taciana on her back [125], the camera begins to make acrobatics over the landscape, particularly describing the mathematical symbol of infinity (metaphorical?) and a circle. From the shot of Taciana on her back in half profile [127], the camera goes to the sea, as in sequence 3 (see [77]). Here the sea is darker [128] and then sparkling ([129], see [14]) and the brightness blends with the white keys of the piano’s keyboard [130]. CU of the pianist in profile and from bottom [131] and afterwards the detail of feet [132] with damaged shoes. A precise look through the character which makes us identify a man already met in Taciana’s house and which connotes an indigence state. The brightness of the water in the glass [133] blends with the sparkling of the sea. (At this point, music changes). Back to the context: an inclined tree [139] which turns the diagonal axis (fusion) with Taciana leaned on the rock [140]. Fusion.

Taciana’s story – 4.5. movie Theater

141 – Night landscape. Travelling from bottom to top
142 – LS of the road. Brutus (pianist) goes forward and stops /
143 – DS of hand that picks up a horseshoe and gets out of frame on the right /
144 – AS of Brutus who stands up, looks at the horseshoe and throws it onto the ground, getting out of scene /
145 – Facade of the group of houses. Brutus enters the scene on the left. Left-right pan over him up to the movie theater door where he enters /
146 – Chair. The shadow of Brutus enters the scene on the right, who leaves the newspaper, the topcoat and the hat. The shadow leaves the scene on the right /
147 – White screen
148 – Darkness /
149 – Screen with the title: CARLITO ENCRENCOU A ZONA. Carlitos in prisoner’s clothes gets out of a hole / MS of Carlitos near the watchman / MS of the watchman /
150 – Pianist in profile, from top /
151 – Carlitos gets out of the hole / AS of the watchman / MS with Carlitos that runs away /
152 – Pianist in profile, from top /
153 – Detail: hands of Brutus on the keyboard /
154 – Detail: mouth that laughs in profile /
155 – Detail: mouth that laughs in half profile /
156 – Detail: mouth that laughs facing forward (man) /
157 – Detail: face of a man who rubs his nose /
158 – Detail: mouth that laughs in half profile /
159 – Detail: mouth that laughs facing forward /
160 – Detail: Edgar’s inclined forehead who sleeps /
161 – Detail: laugh in half profile /
162 – Pianist that plays /
163 – The audience in MS which laughs /
164 – Detail: laugh in half profile /

166 – The audience in MS who laughs /
167 – Pianist who plays /
168 – Detail: woman’s laugh in half profile /
169 – Detail: man’s face in profile who rubs his nose /
170 – Detail: laugh in profile /
171 – The audience in MS who laughs /
172 – Detail: Edgar’s reclined head whom sleeps /
173 – Pianist who plays /
174 – Detail: laugh in half profile /
175 – Detail: laugh in half profile /
176 – The audience in MS who laughs /
177 – Pianist who plays /
178 – Detail: laugh facing forward /
179 – The audience in MS who laughs /
180 – Detail: laugh in profile /
181 – Detail: Edgar’s reclined head who sleeps /
182 – Detail: laugh facing forward /
183 – The audience in MS who laughs /
184 – Detail: laugh in half profile /
185 – Pianist who plays /
186 – Detail: Edgar’s reclined head who sleeps /
187 – Pianist who plays /
188 – Detail: laugh in half profile /
189 – The audience in MS who laughs /
190 – Detail: hands of Brutus on the keyboard
191 – Detail: laugh facing forward /
192 – Detail: hands of Brutus on the keyboard
193 – Door. Left-right PS over the window /

The sequence is opened [141] with a camera ascending movement. Corresponding to Brutus’ finding a horseshoe on the street, a change in music occurs. The empty street [142] receives the character in frame, who after the insertion of the horseshoe detail, gets out of frame [144]. The empty road becomes free upon the leaving. The camera, that follows Brutus after he entered the frame up to the movie theaters door where he enters, is long on it. In the chairs’ shot [146], the shadow which conducts the action enters the frame, throwing the musical notation and the hat, elements that make the spectator recognize him as the man of the meeting in Taciana’s house, that is, her husband. Cut: on the white screen [147] images of the film “The Adventurer” by Charles Chaplin, of 1917, in the escape from jail sequence appear [149] and [151]. The screen is slightly positioned in diagonal. The presence of the cinema theme in the movie theater is associated with that of escape (represented by Carlitos) in the escape (represented in Limite). A construction in abyss (mise en abÿme) arises then in the content and formal shot (more precisely the metalinguistic plan). The film sequence is interleaved with the pianists shot from top [150], retaken in the end of the sequence, and then the detail of the touches on the piano by the aristocratic hands of Brutus that are in contrast with the vulgarity of the laughs that follow. In this part, the music is diegetic, while when the pianist played in the sequence of Taciana’s thoughts (see [131]), it was extra-diegetic and the pianist was introduced by the hat (as in Taciana’s house) and carelessly dressed. There opens a micro-sequence of the audience laugh obtained with the always faster closed editing of details of smiling mouths of several characters in the audience with several angles (from bottom, from top, facing forward, in half profile, in profile), alternated with details of a character that blows his nose and of another (Edgar Brasil) sleeping framed in a very shrunk way and further of the detail of Brutus’ hands on the keyboard, of the pianist in MS who plays and of the groups of spectators. During this part [153-192], which opens and closes with the detail of the piano keyboard, music changes, dissolving itself in Gymnopédie and thus creating a certain stridency between the soundtrack style and the shot’s content. The shot of the door of Taciana’s house [193], which closed the sequence 4.1, returns maybe to recall the tie between the scene of the movie theater, a diverse environment, and Taciana’s story. Pan over the window and over the glass reflections. Fusion.

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