O corpo no cinema: pensamento em movimento

• Ano de defesa: 2005
• Autor(a) principal: Silva, Monica Toledo
• Orientador(a): Greiner, Christine
• Tipo de documento: Dissertação
• 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: Comunicação
• País: BR
• Palavras-chave em Português: Corpo humano no cinema; Linguagem; Pensamento; Movimento
• Palavras-chave em Inglês: Body; Cinema; Language; Thoughts; Movement
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
• Link de acesso: https://tede2.pucsp.br/handle/handle/4866

Inspired by the philosopher Gilles Deleuze s propose that the element of cinema is the gesture and not the image, we propose the thinking- action of the body as the mode of organization of a film. Therefore, we follow the hipotesis that the body has a place not yet explored by the cinema s theory, although in pratic it presents precious exercices of different forms of representation, in the context of the organizational modes of gestures and images created in the body and from the body. Cinema presents itself as a media complex enough to discuss movement in general and, at the same time, to colaborate with the specific research for the body s place in the film. Along the text, we suggest that studying the body in movement means to recognize it as a communication processor in the cinematographic scene. We propose to conduct the modes of construction of the filmic narrative, exposing three distinct resourses of body appropriation in the creation of sense: when the place of the body is represented by the camera, when it organises itself in the character s body, and when it is presented in the film locations. Besides an historical and conceptual introduction which proposes an unique taxonomy of the representations of the body in the movies, the Monograph presents two Chapters. In the first one, it analyses one single film, where the body thinkings not only iluminate well these three places, but also seam to create and conduct the narrative, being extended to other bodies in scene that conduct our perception and determine an aesthetics and a film composition that are singular. This is the Jean-Pierre and Luc Dardenne film, Le fils ( The son , 2002). In the second chapter we develop a creative exercise of video-art, which language porposes new discussions and contributions for the understanding of the image construction of a thought in movement: Brevidade ( Brief , 2005). As a methodology, we work with specific intertheoric conexions, from the research of specialists as Jacques Aumont (1997), François Jost and André Gaudreault (1990), José Lino Grunewald, Philippe Dubois and Arlindo Machado (2004), and from the investigations of a few concepts studied by the neurocientists António Damasio (1999), Rodolfo Llinás (2003) and Gerald Edelman (2003), redimensioned by the philosophers Gilles Deleuze (1984, 2000), George Lakoff and Mark Johnson (2001) and by the researchers Helena Katz and Christine Greiner (2005), in what is related to the body studies specificaly as an object of communication. In the many possible conections that could be developed, we emphasize the topics refered to the studies of time, of movement, of the creation of internal images and of the body transit with the ambient. It is about a theorical -practical exercise that selects informations in the academic and scientific texts in order to bring them to an artistic and communicational context, through a theoric intersection and a creative propose, aiming to get started a process that shall be continued in a Doctorship, in the sense of turning the cinema studies disposable to researchers from other areas, and therefore extending not only the cinema s perspectives but its own language.