A relação humano maquínico no imaginário cinematográfico

• Ano de defesa: 2005
• Autor(a) principal: Bizarro, Maristela Sanches
• Orientador(a): Santaella, Lucia
• 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: Relação humano-maquínico; Ficção Científica; Semiótica Peirciana; Ficcao cientifica; Cinema
• Palavras-chave em Inglês: Human-machinic relationship; Science fiction; Peircean Semiotics
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://tede2.pucsp.br/handle/handle/4568

This work studies the human-machinic relation in the cinematographic imaginary. It is based on Phenomenology and General Theory of the Signs developed by Charles Sanders Peirce. For our study we choosed three science fiction movies that reflect three moments of the technological innovations that marked the twenty century culture: Industrial Revolution, Electronic Revolution and Digital Culture. Chapter 1 describes main characteristics of science fiction gender and its possibilities of relation human-machinic s representation. Chapter 2 analyses Metrópolis film directed by Fritz Lang in 1926. The film portrays a conception of the machine as something oppressor and external to the human in the Industrial Revolution context. This chapter analyzes the predominance of the Category of Secondness and the indexical character of Metrópolis signs. Chapter 3 analyzes Blade Runner, icon of Electronic Revolution and precursory of Digital Culture. Directed by Ridley Scott in 1982, the film portrays the conception of a fluid relation between the human and the machinic in the android figure. This chapter analyzes the predominance of the Category of Firstness and the iconic character of Blade Runner signs. Chapter 4 analyzes Matrix, directed by Wachowski brothers in 1999. The movie portrays a high level of symbolic interaction between the human and the machinic and makes possible to ask several characteristics of digital culture. This chapter analyzes the predominance of the Category of Thirdness and the symbolic character of Matrix signs.