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Master's Dissertation
DOI
https://doi.org/10.11606/D.27.2017.tde-13032017-134639
Document
Author
Full name
Thiago Siqueira Venanzoni
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2016
Supervisor
Committee
Soares, Rosana de Lima (President)
Machado Junior, Rubens Luis Ribeiro
Prado, Jose Luiz Aidar
Title in Portuguese
Os movimentos do olhar: do encontro do Real ao deslocamento estético, o cinema de Gus Van Sant
Keywords in Portuguese
cinema contemporâneo
crítica da imagem
estética
Gus Van Sant
olhar
Abstract in Portuguese
A presente pesquisa analisa três filmes do diretor norte-americano Gus Van Sant: Elefante (2003), Últimos dias (2005) e Paranoid Park (2007). Esses três filmes, muitas vezes pensados como uma trilogia, não se igualam apenas no campo estético, mas também em sua proposta política, já que os três apresentam fatos sociais e acontecimentos (mais próximos à esfera do jornalismo). Assim, a pesquisa desenvolve sua argumentação tendo como ponto de partida a realidade concreta e os modos de construção de suas possíveis representações. Não se trata, nesse caso, precisamente de um tipo de realismo enquanto gênero, mas, sobretudo, um modo realista imbricado na forma ficcional dos filmes em função das questões políticas e de sociabilidade que eles suscitam. A pesquisa aborda, dessa forma, três pontos a partir dos quais pensar o cinema contemporâneo, apontando algumas de suas escolhas no campo da visibilidade e em sua política. No trabalho, são três as dimensões do olhar que se colocam a partir do discurso cinematográfico: 1. o olhar do autor, que intenciona uma enunciação; 2. o olhar da cena e a performatividade das imagens, que tensionam o lugar de intenção da autoria; 3. o olhar da cena social, que encontra o lugar político das imagens e do espectador em relação à circulação delas. A esse processo foi dado o nome de dialética do olhar, pois ele constrói a todo instante os espaços de alteridade, ou do Mesmo e do Outro, na imagem.
Title in English
-
Keywords in English
aesthetic
contemporary cinema
criticism of image
gaze
Gus Van Sant
Abstract in English
This research analysis three films directed by Gus Van Sant, from United States, were selected: Elephant (2003), Last Days (2005) and Paranoid Park (2007) These three movies, often studied as a trilogy, are not only connected by a common aesthetical field, but also in its propositional politics, since the three movies present social facts and events (more like how events are brought up in the field of journalism). Therefore, the research considers as its starting point the factual reality and the construction of its possible representations. We are not specifically talking about Realism, as it's approached as a gender, but, most of all, according to the political questions and sociability evoked by our object. This research aims to point three parameters in order to discuss the contemporary cinema and its option into the political and visibility's fields. We're focused in three dimensions of the gaze posed considering the cinematographic discourse: 1) the author's gaze, that aims to create a tendency in an enunciation, 2. the scene's gaze and the images' performativity, that stress the position of the authorship's intentionality; 3. the gaze of the social scene, that meets the images' political position, from the spectator to its circulation. This process was named as gaze dialectic, since it is capable of constructing at every moment spaces of alterity, or, Itself and the Other in the image.
 
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Publishing Date
2017-03-13
 
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