Dogma ou paradoxo: a articulação entre conflito interno e ideia governante no cinema de Darren Aronofsky

• Ano de defesa: 2025
• Autor(a) principal: Sant’Ana, Leonardo Todeschini
• Orientador(a): Prado, José Luiz Aidar
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Pós-Graduação em Comunicação e Semiótica
• Departamento: Faculdade de Filosofia, Comunicação, Letras e Artes
• País: Brasil
• Palavras-chave em Português: Conflito interno; Dramaturgia; Roteiro audiovisual; Darren Aronofsky; Cinema; Construção de personagem
• Palavras-chave em Inglês: Internal conflict; Inner conflict; Screenwriting; Screenplay; Darren Aronofsky; Filmmaking; Character creation
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://repositorio.pucsp.br/jspui/handle/handle/44232

This research develops the concept of character internal conflict in films, examining its narrative modes and its effects on the governing idea of audiovisual work. To this end, the corpus comprises the eight fictional feature films directed by Darren Aronofsky: Pi (1998), Requiem for a Dream (2000), The Fountain (2006), The Wrestler (2008), Black Swan (2010), Noah (2014), Mother! (2017), and The Whale (2022). The hypothesis of this research is that, despite the works being recognized as controversial and sometimes complex, the author is marked by a dogmatic narrative point of view, more given to alignment with public morals than to a paradox of true complexity. The core of this argument is the development of the characters' internal conflict, since it is in the complexity of its main agents, in the author's ability to narrate the confrontation between the individual and their own behavior, instead of transferring all responsibility to other agents (external conflict), that the complexity of a narrative is ensured. The first chapter conceptually introduces the two main issues of the research, (1) internal conflict and (2) governing idea, based on cinema theorists, mainly from audiovisual dramaturgy, in addition to resorting to theater scholars, such as Robert McKee and Renata Pallottini, respectively. In chapter two, the eight feature films directed by Aronofsky are analyzed. The third chapter elaborates a brief profile of Aronofsky based on two interviews and also observes the public and critical reception of his filmography. Finally, in the conclusion, it is pointed out the ways in which the character's internal conflict is present, its effects on the governing idea of a cinematographic work and what is the real importance of internal conflict in narratives, fictional or not