Intensidades da imagem: experiência estética no cinema - análises críticas a partir de Walter Salles

• Ano de defesa: 2018
• Autor(a) principal: Calhado, Cyntia Gomes
• Orientador(a): Mello, Christine
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Comunicação e Semiótica
• Departamento: Faculdade de Filosofia, Comunicação, Letras e Artes
• País: Brasil
• Palavras-chave em Português: Intensidades da imagem; Experiência estética; Cinema contemporâneo; Salles, Walter [1956- ] - Crítica e interpretação
• Palavras-chave em Inglês: Image intensities; Aesthetic experience; Contemporary cinema; Salles, Walter [1956- ] - Criticism and interpretation
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://tede2.pucsp.br/handle/handle/21885

This research analyses the phenomenon of the intensities of the image in their relations with the narrative as event in the cinema of Walter Salles by the perspective of the aesthetic experience. We point out as a research problem the following question: Can intensities of the image be understood as narrative events in cinema, by their potential to broaden the experience in contemporary cinema? The research hypothesis is that the intensities of the image mobilize affections on spectators through activations in their haptic sensibility and their occurrences can be seen as narrative events by their capacity to broaden the sensory experience. The research corpus includes the following fictional feature films spoken in Portuguese and made for cinema exhibition: Central do Brasil (1998), Abril Despedaçado (2002) and Linha de Passe (2008, co-directed by Daniela Thomas). The analysis follows the figural approach in the sense proposed by Philippe Dubois, as well as the perspective of the extremities of Christine Mello (2008) to observe the productions in their poetic procedures, because we understand that this audiovisual production takes place in the sign of the extremities. The theoretical approach is based on the narrative-imagetic procedures seen by André Parente, result of the critical analysis of Gilles Deleuze, on the concept of plastic dramaturgy of Jacques Rancière and on the perspective of aesthetic experience of John Dewey. The research proposes dialogues with authors of the critical theory of the media, such as Arlindo Machado and Christine Mello. Methodologically, it is a bibliographic research. The relevance of this research lies on its contribution to the studies on cinema experience in contemporaneity