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|Title:||A aurora do mundo:propostas sobre um certo cinema contemporâneo|
|Other Titles:||The dawn of the world: proposals on a certain contemporary film|
|Abstract:||Over the past few decades, contemporary film is displaying a certain "new transnational wave", unique since the mid-60s. Filmmakers as diverse as Apichatpong Weerasethakul, Claire Denis, Hou Hsiao-Hsien, Tsai Ming-Liang and Pedro Costa, along with many others, such as Edward Yang, Karim Aïnouz, Lucrecia Martel, Gus Van Sant, show a similar sensitivity towards the values of the world and of the cinema. A sensitivity that comes without a doubt from modern cinema, reaffirming traditional questions on other terms, in a process of radicalization of the movement of emptying and questioning the notion of representation on behalf of other ways of apprehending reality. The aim of this thesis is to recover a forgotten tradition within film theory of authors inspired by phenomenology, such as Andre Bazin, Amédée Ayfre, Michel Mourlet, Roger Munier and Jean Mitry, in order to meet a demand that comes from the movies themselves, which operate at a dilution of all boundaries and dualisms (between concept and feeling, between body and character, between "real" and its spectral extensions, between mise-en-scène and an exercise of looking), and seek to enchant us with their images and sensory force. Maurice Merleau-Ponty and Gilles Deleuze are also summoned and help us investigate the films of Denis, Costa, Tsai and Apichatpong. What is affirmed in the end is a different way of seeing film as a constant process of figuring in a dialectic between thought and thoughtless, between the visible and the invisible. Film not as a consideration or a judgment on the world, but as belief and faith in its continued birth.|
|Appears in Collections:||TEDE sem arquivo|
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