O cinema invisível : cartografias do acontecimento fílmico

• Ano de defesa: 2020
• Autor(a) principal: Sanches, Thiago Cardassi
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Mato Grosso; Brasil; Faculdade de Comunicação e Artes (FCA); UFMT CUC - Cuiabá; Programa de Pós-Graduação em Estudos de Cultura Contemporânea
• Palavras-chave em Português: Comunicação; Cinema; Filosofia; Cartografia; Análise fílmica; CNPQ::LINGUISTICA, LETRAS E ARTES; Communication; Philosophy; Cartography; Film analysis
• Link de acesso: http://ri.ufmt.br/handle/1/3301

Cinema is a process of the order of events that combines heterogeneous elements and mixed semiotics. For this reason, its study demands procedures that are capable of mapping both formal territorialized strata and intensive forces that animate the cinematographic plan of composition. On the formalization side, there is an audiovisual archive that actualizes matters in statements and images; on the other hand, a diagram of asignifying powers which mean or show nothing and yet are capable of producing affects, intensities, velocities, intervals and temporalities. In face of this double requirement, the objective of the present work is not to offer one more method for the study of cinema, but to outline a conceptual plan that allows putting into practice a cartographic apprehension of the stopping points and continuous movements in cinema. In this sense, cartography is a performance, not a technical competence. This type of sensibility implies the invention of an optics and an ethics, determining the conditions of perception of the visible and experimentation of the invisible in the cinema, at the same time that it constitutes a processual, open and non-intentional position for its study. In this research we want to show that a filmic mapping always includes two poles of action or tension: in its archaeological becoming, cartography extracts the audiovisual conditions that favor the passage of affects within the film; in its intuitive becoming, cartography directly apprehends intensive modes of existence instead of the representations established in the imaginary. These modes constitute a multiplicity of quasi-things dispersed in a state of virtual power that, when converging in a certain sense, give life to the film narrative, understood as an effectuation of the Event.