Olar, 2018!
Chegamos nesse janeirão lindo com o segundo post da série “Cinema Para Tradutores de AV”, em colaboração com nosso finalizador e editor Ivan M. Franco (saiba mais sobre a nossa equipe!). Se você perdeu o primeiro, clique aqui. Se não, vamos que vamos.
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Como uma arte recente, o audiovisual ainda é uma área com possibilidades vastas. Há poucas décadas que o som foi introduzido aos filmes como elemento diegético. O maior medo de Eisenstein era o de sons serem introduzidos aos filmes sem contexto, como, por exemplo, trilhas musicais. Isso significa que muitos elementos surgiram – e irão continuar surgindo – frutos de necessidades técnicas, ou então apenas experimentações.
Antes do som, elementos gráficos cumpriam seu papel comunicativo no cinema mudo: liam-se os diálogos apresentados antes ou depois, em cartelas. Somente essa opção já compreende diversas interpretações sobre o contexto do diálogo. A arte da montagem e da edição andava de mãos dadas com o uso das cartelas que traziam os diálogos, ordenando sequências para contar uma história que fazia uso de todos os elementos possíveis, dando sentido e ritmo para o espectador. Se um diálogo tiver uma edição apenas funcional, teremos algo parecido com uma novela: um plano geral para situar o diálogo num espaço. Vez ou outra, vemos a reação da personagem que apenas ouve, para efeitos dramáticos. Mas tirando a linguagem corporal e audiovisual, teremos questões com o idioma falado pelas personagens.
Então, temos legendas. Elas não interferem nas atuações e nem exigem alterações drásticas de áudio. São o artifício final quando se trata de baixo custo e globalização de uma obra. Mesmo legendas tendo surgido em filmes antes da sincronia de som com imagem, ainda são negligenciadas como recurso narrativo. Ainda entendemos legendas como uma muleta para a cisão que são as línguas humanas. Em se tratando de legendas tradutórias, descritivas ou transcritivas, podemos afirmar com toda a certeza que a montagem/edição não é feita levando em consideração o espaço que ocuparão na tela e, consequentemente, como irão interferir na narrativa visual.
As soluções, é claro, ficam a cargo dos legendadores, e nem sempre são satisfatórias. Muitas vezes, é preciso escolher: respeitar o corte de cena e deixar o tempo leitura ruim, ou respeitar o tempo de leitura e deixar a legenda vazar para a cena seguinte, interferindo com a estética. Uma solução elegante para que legendas possam coexistir com a arte de um filme são as legendas eletrônicas: projetadas fora da tela – mas dentro do campo de visão do espectador – elas cumprem sua função sem a exigência de adaptação da linguagem audiovisual. Mas o fato de estarem fora da tela também exige do olhar, que precisa viajar muito, e acaba tornando a leitura mais cansativa e desconectada da imagem. Ou seja: em algum aspecto, saímos perdendo.
Das poucas vezes em que as legendas foram utilizadas como ferramentas da narração, destacam-se as comédias: “Noivo Neurótico, Noiva Nervosa”, de Woody Allen – onde legendas numa cena mostram o que as personagens estão pensando; e “Máquina Quase Mortífera”, na qual o policial interpretado por Emilio Stevez tropeça nas legendas durante uma perseguição. No primeiro, a legenda insere uma nova camada narrativa: o espectador tem mais capacidade para compreender a trama e seus personagens. Já no segundo, as legendas estão dentro do universo do filme, de uma maneira surreal, mas que o espectador é capaz de compreender. O interessante é entender que a piada no filme com Emilio Stevez é justamente a de que legendas podem atrapalhar. Elas entram no campo de visão destinado para contemplação fotográfica. Voltamos à questão da edição: quando um filme é feito, raramente se considera a possibilidade de legendas sendo incorporadas ao quadro.
Não é que os roteiristas, diretores e montadores precisem se limitar enquanto autores. É o contrário: estamos num momento em que se exige criatividade para solucionar uma questão da legendagem. Talvez seja o melhor momento para inovações na área e a quebra de paradigmas clássicos, ao que se somam as questões de acessibilidade. Não é à toa que quadrinhos e jogos eletrônicos só foram considerados arte neste século: eles trazem as possibilidades de exploração que só a marginalidade pode fornecer. Aguardamos cenas dos próximos capítulos!
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