A produção de sentido na narrativa fílmica Baby Driver a partir das concepções semióticas Peirceanas

Abstract

The cinematographic language is endued by several strata of speech, from its structure. Thus, we intend to investigate, how the cinematographic discourse of the film narrative Baby Driver (2017) sets up through the production of combined senses of the analysis of moving images, adducing non-verbal, sonorous and visual elements. We aim to, objectively during the research, discuss the semiotics of Peirce (2002) and address the author's methodology, all the while observing, how the filmic composition need stimuli to instigate the spectator's unconsciousness, portraying the theory of Eisenstein (2002). To immerse the discussion under the principles of filmic composition (visual and soniferous), the aesthetics language of videoarte was articulated, with the complementary sound elements as a base plan. However, we seek to elucidate the corpus in order to contextualize the vision of the reader from the speech that the film addresses, demonstrating that the music and noises are the driving force of the narrative. After understanding the methodological course proposed by D.Rose (2002), analyzing moving images, we idealize intercrossing specific methodologies with Pierce's semiotics in order to not only include icons, indexes and symbols, but combine certain methods. Consequently, after accomplishing the analysis, we realized how the non-verbal speech configures the conduct of the Baby Driver (2017) filmic narrative.