Uma exploração do desenho tipográfico a partir da tradução intersemiótica do filme "frenesi” de Hitchcock

Abstract

This study presents a process able to translate a text in a graphic design. The typeface result presented at the end of this monograph illustrates the process described below. The principal purpose of this study is not the end result, but the construction process. In this way, this undergraduate thesis aims to explore typefaces using the Intersemiotic Translation of Alfred Hitchcock’s film Frenesi (1972). The process begins with a semiotic reading of the text, describing narrative elements that appear in the film, the characters’ speeches, lighting, sound effects and images from the scenes. From then on, it is possible to perceive a fundamental point for the beginning of the analysis: the grounds where the text is built up. These bases will be analyzed through a method for discourse semiotics proposed by A. J. Greimas: the fundamental level, the narrative level, and the discursive level. The fundamental level is the most abstract and seeks to analyze the basic structures of the text from Greimas Semiotic Square. Before that, the analysis of the text is broaden to the narrative level, when the relations between subject and object are perceived. It is at the discursive level that the preceding processes of analysis become concrete. This concreteness appears through themes and figurative investments, which here, guides the process of intersemiotic translation. So, a translation board is elaborated containing the figurative investments that were perceived during the process of analysis, which I call here the variables, the indices, the scenes from the film and the transitional references (iconic, indicial and symbolic). Finally, it takes to the last step of the project: defining the variable that best translates the film that will become a typeface. Remember that, the exploration of typefaces is a way to demonstrate the method described, and the final graphic result, a consequence. The semiotic reading is based on the method presented by Lucrécia D’Aléssio (1986), the semiotic analysis is based on the studies of A. J. Greimas (1979), Luiz Fiorin (2018), and Diana de Barros (2005). The intersemiotic translation in Julio Plaza (2010), and the font created by adapting the method presented by Luiza Falcão Soares Cunha (2014).