A semiótica no cinema (pós-moderno) de Quentin Tarantino

Abstract

The present work of completion of course aims to develop a semiotic analysis of four feature films written and directed by the postmodern filmmaker Quentin Tarantino. His films were chosen because in each one he creates a unique universe, full of rich narratives, references and meaning. To this end, Charles Sanders Peirce's Semiotics was chosen especially with regard to its phenomenological categories, and aid from his interlocutor Lucia Santaella. We can infer that, in each cinematographic production, we observe the stronger presence of one or the other of the so-called trichotomies of the Peircean sign. In this sense, an iconic image more present in Pulp Fiction - Tempo de Violência (1994) was observed, within the scope of the phenomenological category of Primeiridade; an indicial image, full of stimuli and responses in Kill Bill vol. 1 (2003) and Kill Bill vol. 2 (2004), within the scope of the Peircean Secundity; and evidenced the presence of the symbolism, rooted in the images and dialogues of Inglorious Bastards (2009), in the field of Thirdness. In order to present the hypotheses described, in a more simple and didactic way, we opted for the rehearsal modality, in which we analyzed the frames of the films, exposing the points of view and interpretations resulting from the relationship of the cinematographic language with the semiotic field, that is, as the semiosis process takes place within each scene of a given film.