Quando os sentidos se tocam: análise dialógica dos discursos inicial e final do filme O Grande Ditador, de Charles Chaplin

Abstract

The main aim of this article is to analyze the first and second speeches of the film The Great Dictator (1940) in the light of the theory of Dialogic Discourse Analysis (DDA). The characters responsible for the discourse are Hynkel (dictator of Tomânia and a parody of Hitler) and the Barber (anunnamed Jewish man). Both are playedby Charles Chaplin. Chaplin is known for hisuniquestyle, mixing criticis mand humor torai sequestion sabou this time. His silente film works are considered classic sand are used as a reference in Other works, thus creating hisown identity with his character Carlitos, whostarred in severalofhisfilms. Carlitos' characteristics are present in The Jewish Barber, the film under analysis. The film started being shot as soon as the Second World War broke out. The main focus of the comedy was to criticizeand satirize Adolf Hitler and Nazism. It was Chaplin's firsts poken film, as here fused to give in to the advances in technology atthe time, specificallythetransitionfromsilenttospoken cinema. To thisend, thearticleathand looks to Dialogical Discourse Analysis, whichis what the discursive strand base donthe studies of Bakhtin and the Circle (Brait, 2006) has been called, to provide the necessary support for analyzing the filmic enunciation. The first and second speeches of the Hynkel and Barber characters, respectively, were analyzed based on the concept sof dialogism, exotopia, subject, laugh terand the grotesque (Bakhtin and the Circle), with the aimo falso elucidating the importance ofexotopic discourse in the transformation ofhuman consciousness. This is qualitative, documentar and dialogical, as it focuses on the enunciative-discursive aspect.