Eduardo e Mônica: o encontro do cinema, da literatura e da canção

Abstract

The aim of this paper is to analyze the dialogue existing between the song *Eduardo e Mônica* and its homonymous film. The song, composed by Renato Russo and released in the album *Dois* in 1986 by the band Legião Urbana, has become a classic of Brazilian music. The film, directed by Renê Sampaio with a screenplay by Gabriel Bortollini and Jéssica Candall, was completed in 2020, but its release was postponed to January 2022 due to the COVID-19 pandemic. Both works are set in the 1980s and explore the unlikely relationship between Eduardo and Mônica, two young people with vastly different personalities and interests. The dissertation employs the concepts of adaptation theory by Linda Hutcheon (2011) and Robert Stam (two thousand) as a foundation for the analysis. According to this approach, each work is evaluated in its own language, considering all its specificities, without the limitation of being a mere transposition from one media to another. The research is based on a wide range of theorists and authors who explore the nuances of song and poetry as forms of literary and artistic expression. Among them, Antônio Aguiar (2006) discusses the multifunctionalities of literature and song, addressing poetic, hedonistic, communicative, and social aspects. Antônio Medina Rodrigues (1990) highlights the complex relationship between popular music and modern Brazilian poetry, emphasizing the importance of melody in understanding sung text. Affonso Romano de Sant'Anna (1978; 2001) and Nelson Costa (2003) underscore the historical interaction between song and poetry in Brazil, arguing for the nation's lyrical richness and the need to recognize the literary qualities of songs. Norma Goldstein (1988) and Massaud Moisés (1987) contribute discussions on poetic structure and the essence of poetry, respectively, while Falcão (2006) describes the song as a hybrid genre deserving attention in literary studies. Steven Paul Scher and Charles Perrone (1986) address the inseparable relationship between literature and music, highlighting the song as a fertile field for literary analysis. Therefore, the research aims to recognize and analyze the depth and intertextuality between song and cinema, using the adaptation theories of Linda Hutcheon (2011) and Robert Stam (2000), along with contributions from other theorists mentioned, to explore how these two mediums narrate the same story, enriching the understanding of the cultural and social dynamics they reflect and shape