Construção, estratégias e práticas: análise de dois cartazes de “Meia-noite em Paris”

Abstract

This article examines two movie posters of Woody Allen’s Midnight in Paris (2011). We consider the film’s content and the practice that involves the movie posters to understand the different strategies used in the posters, which produce very different enunciations in both content and expression planes. Based on Fontanille’s (2005) semiotic practice concept, we describe the one involving the movie posters. If, in this practice, the movie poster aims to achieve the same enunciate profile of the film that it presents, what plastic strategies will be used to construct this text in relation to the film? How are these strategies related to cinematographic genres and what are the reiterations on posters that refer to a certain genre? Do the Midnight in Paris’ posters use these strategies related to the genre in which it is framed? Our analysis is based on the tools of the French semiotics, especially the plastic semiotics, such as the chromatic, eidetic and topological categories (FLOCH, 1985), and the establishment of semi-symbolic relationships to answer these questions and check for poster-to-film identity and whether the enunciate profiles of both texts match.