Bon Appétit: Construção narrativa e visual da série hannibal

Abstract

This study aims to analyze the construction of the serial narrative Hannibal, which brings the story of the already known character of literature and movie still in action - before being arrested. We start from concepts related to narrative construction and to the cinematographic construction in order to understand procedural complexity as a whole. For that, we have gone through aspects ranging from the creative process with Brett Martin, narrative issues with Mittell and genres with Carroll, Wood and Todorov. Understanding also the form of the exchanged crime used by Hitchcock from Chabrol and Rhomer and Truffaut from which the series appropriates, as well as by the synesthetic form of cinema with Eisenstein, Deleuze and Aumont, to the style used in the period of German expressionism with Lotte Eisner and Kracauer that left some inheritance in this object. Only after all this contribution we were able to dissect and dismember Hannibal, identifying how his arcs and scenarios were composed, how his inspirations and purposes worked. For this, we divided the analysis into three dissecting avenues: random crimes and their aesthetic visual and cinematographic constructions; of the narrative and the analysis of the arcs that culminate in a changed crime; and the life of the analysis of Hannibal design, in which we analyze how the series constructs its killer methodology during the series, in a disconnected and careful way. In this way, by analogy with the series itself and its investigative theme, we follow the evidence and loose ends of the visceral way in which the series presents itself in order to discover its steps - this is our design.