As novas tecnologias e a potência política do cinema corpo

• Ano de defesa: 2021
• Autor(a) principal: Filho, Ernesto
• Orientador(a): Greiner, 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: Cinema; Corpo; Esgotamento
• Palavras-chave em Inglês: Cinema; Body; Exhaustion
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://repositorio.pucsp.br/jspui/handle/handle/24306

The aim of this dissertation is to analyze cinema today, both with regard to exhibition locations as to the constitution of films. The corpus of the research are three original films presented at different stages of their production. The first, Pas Ce soir (“Not Tonight”), emerged from the encounter with the work of French writer and singer Brigitte Fontaine and had its first public screening in 2015. The second O Amor Está Preso? (“Is Love Jailed?”) was filmed and edited in partnership with artist Julia Feldens during the writing of the dissertation. The third, Antes que as libélulas entrem em extinção (“Before dragonflies go extinct”), is a film fabulated in written format from video frames edited for Instagram posts in recent years. With regard to the theoretical foundation, such film experiences are articulated through research on specific topics such as otherness (GREINER, 2015), intra-action (BARAD, 2007), neurodiversity (MANNING, 2020), meaning (JOHNSON, 2007), , post-cinematic affects (SHAVIRO, 2010) and emotion and affect (MASSUMI, 2015). The expected result is the presentation of a debate that articulates concepts and creative processes, understanding film based on theories of the body, that is, as a way of thinking / testing images that are configured in each experience