O instante (in)capturável: tempo-memória e cinema

• Autor(a) principal: Fusaro, Márcia do Carmo Felismino
• Data de Publicação: 2013
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/4559
• topic: Cinema; Tempo; Memória; Nouvelle vague; Time; Memory; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

This research examines the relations between Time and Cinema, and more strictly the matter of capturing Time, Memory and Moment in the cinematographic narrative, under the light of the philosophical reflections of Gilles Deleuze on said subject. Our hypothesis is that Cinema and Arts are subordinated to the scientific and philosophical debate about Time that started at the turn of the nineteenth to the twentieth century, with the emergence of Theory of Relativity and Quantum Mechanics. We assume that Gilles Deleuze's works about this debate during the second half of the twentieth century are a cornerstone, proposing a dialog between Philosophy, Science and Arts, as seen in his classical readings of Henri Bergson thesis about Time and Memory in Bergsonism, and in his thoughts about Time, Memory and Image as presented in Difference and Repetition and Proust and Signs, where he reviews the relations of the scholar-thinking tradition with the imagistic (imagetique) similes. At a later moment we add Cinema 1: The Movement-Image and Cinema 2: The Time-Image to the reference set, which were taken under special consideration. We adopted a two-way methodological path: bibliographical research and documental research, the later being a filmic ensemble composed by a collection of works mainly from Alfred Hitchcock, Orson Welles, François Truffaut, Jean-Luc Godard, Alain Resnais, Chris Marker, Agnès Varda, Ingmar Bergman, Andrei Tarkovski, Raoul Ruiz e Tom Tykwer. As these are references in authorial films (cinema d´auter) for Gilles Deleuze, the pre-selection includes Nouvelle Vague productions. Besides Deleuze's original works, the theoretical reference framework encompass the most illustrious and remarkable studies about deleuzian philosophy and cinematographic art. We believe that the topics brought to discussion are interconnected with the communication field, not just because Cinema was the first technologically-based art-form for the masses, but also for being so it shares the ambition to cover life on-the-go with other massive means, with all that it holds on the capture of a photographic memory