O mal e a vingança em O morro dos ventos uivantes: do romance de Emily Brontë à adaptação fílmica de Peter Kosminsky

Abstract

This research aims for the purpose approach two representations of the artistic field: literature and cinema, in order to establish a dialogue between both, in relation to their particular characteristics and how one media can be adapted to another. The literary work that will be discussed in this research is the only novel by the English writer Emily Brontë: Wuthering Heights (2009) – published under the original title of Wuthering Heights (1847) – and the film of the same name, directed by the British director Peter Kosminsky, and distributed by Paramount Pictures in 1992. One of the aims of this study is to observe how the revenge of the character Heathcliff took place in both works, envisioning how the director adapted all the strength and impetuosity of this character to the screen, using elements typical of the filmic nature – such as colors, scenery, music, costumes – and the mise-en-scène, to compose a visual narrative beyond the dialogues and acting. To that end, we use exploratory research, with stages divided into theoretical conceptualization, contextualization, and analysis. We use as theoretical references the studies by Cevasco and Siqueira (1985) on the historical social context of the production of the literary work, as well as Dinsdale (2019), which provides an insight into the life and work of the Brontë family; regarding our discussions on evil, revenge, and violence, we bring Battaile (2015), Arendt (1963), Eagleton (2012), and Girard (2012); regarding studies of film adaptations and mise-en-scène, we use the studies by Hutcheon (2011), Stam (2008) and Bordwell and Thompson (2013), among others that dialogue with theme. From these analyses, identified that the use of mise-en-scène was an essential tool for the construction and characterization of Heathcliff's evil and revenge, so that it was through it that revenge became explicit in the movie, and the use of settings as an emotional complement to the characters.