LITERATURA, CINEMA E MELANCOLIA

Abstract

This article addresses the intricate relationship between Literature and Cinema, highlighting melancholy as a central element of reflection. Since at the heart of the definition of the melancholic affection lies the incessant pursuit of an idealized and ungraspable object of affection, melancholy is used as a methodological key for investigating the translation of literary language into cinematic language. Furthermore, it argues that the melancholic facet, here governing the transit between the two artistic expressions, can be extended to the debate about artistic creation per se. The principles of Walter Benjamin (2012) regarding translation underpin the argument, which analyzes the film Melancholia (2012) by Lars von Trier as a work in which melancholy is both a theme and a cinematic form.