Scripta 9_2_link_final.pdf - Uniandrade

subjects. The film’s title appears first, followed by the final credits. A new
close-up of the cloak’s cloth indicates the end of the credits. But, this time,
the color blue changes gradually and the cloak acquires a reddish hue. At the
end of the film, only the words The End are seen, in the middle of the
image, and the reference to the author’s copyright appears in small characters,
in the lower part of the screen (BOUCHY, 2008).
The blue cloak and the red cloak serve, in their turn, to highlight
the protagonist’s dual role: Prospero, the playwright, who acts as the author
of the play staged throughout the film, and Prospero, the actor, who, like
the other characters, performs under the dramatist’s pen and command.
Prospero the writer (or dramatist) establishes a relationship between the
image built by Prospero and Shakespeare’s creation process. Resorting to
the manuscript word, materialized on the screen, and its relation to the very
writing process, the filmmaker shows in close-up objects such as the ink,
the quill and the inkpot (VIEIRA; DINIZ, 2000, p. 77) 7
With ink, quill and inkpot, Greenaway pays homage to the copyists
of the Middle Ages, while visually evoking the process of cultural
transmission from past to present. The graphic richness of calligraphy is
explored by the filmmaker in the very process of the construction of images
(Frame 6).
Frame 6 – The materialization of the written word.
According to Karine Bouchy (2008), “Greenaway had a precise
idea of the role he wanted to give to the manuscript letter in movement. It
was for this reason that he needed a collaborator.” 8 Greenaway’s meeting
Scripta Uniandrade, v. 9, n. 2, jul.-dez. 2011 107