Espelhos do tempo: política no cinema de Tarkovsky

• Ano de defesa: 2015
• Autor(a) principal: Milanezi, Daniel Tabarani Santos
• Orientador(a): Segurado, Rosemary
• 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 Ciências Sociais
• Departamento: Ciências Sociais
• País: BR
• Palavras-chave em Português: Cinema e política; Andrei Tarkovsky; Cinema russo; Imagem-tempo
• Palavras-chave em Inglês: Cinema and politics; Russian cinema; Time-image
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS
• Link de acesso: https://tede2.pucsp.br/handle/handle/3636

Based on an esthetical-political analysis of the film Solaris, and an investigation on the personal and artistic life of Andrei Tarkovsky, within a historical and political context situated in the Soviet Union from the 1960s through the 1990s, it s proposed in this research to emphasize the shock between this artist and the Soviet State, with the purpose to demonstrate a political presence in Tarkovsky s work. Tarkovsky s own writings, the philosophical and esthetical concepts of Gilles Deleuze, the political notions of political presence of the work and esthetization of politics, written by Professor Miguel Chaia, give support to the foundations of this dissertation, making it possible to create: a discussion about Tarkovsky s conceptions of art and cinema; an analytical cut of the film Solaris, showing the esthetical, political, historical problems involved in this work; an overview of the Soviet cinematographic industry, debating the relationship between the artist Tarkovsky and the authoritarian bureaucracy of the Soviet State, as well as the effects of this as a political act of resistance made by the filmmaker through his filmography