But after all, what's left of cinema? The film, the exhibition and the eternal return of the end

Detalhes bibliográficos
Autor(a) principal: Ramos, Fernão Pessoa
Data de Publicação: 2016
Tipo de documento: Artigo
Idioma: por
Título da fonte: Galáxia (São Paulo)
Texto Completo: https://revistas.pucsp.br/index.php/galaxia/article/view/25800
Resumo: What film does have, and other mobile pictures do not (when they are not movies), is the capacity to close itself to duration. It gives its viewers a previously played game. The film is a kind of washing machine that shakes and flips the time, twisting it up and down, turning it to fruition, with emotion aiding. Film, like a symphony, must pass toward an end (a ‘happy’ end, says de word) that is already there, in the very start, in every plan. An end we find in the heart of its art - unlike a painting or a photo on the wall. Therefore, when we hang a lm, or make it an installation, we can have whatever we want, but not film and no longer cinema. The film creates “dispositif ” and not the reverse. The quarrel about what is 'left' from cinema has its heart the regressing deaths and this sort of great Leviathan that is the expanded cinema.
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spelling But after all, what's left of cinema? The film, the exhibition and the eternal return of the endMas afinal, o que sobrou do cinema? A querela dos dispositivos e o eterno retorno do fim.filmdeath of cinemaexpanded cinemadigital technologyfilm and timedispositif.filmemorte do cinemacinema expandidotecnologia digitalfilme e tempofilme dispositivo.What film does have, and other mobile pictures do not (when they are not movies), is the capacity to close itself to duration. It gives its viewers a previously played game. The film is a kind of washing machine that shakes and flips the time, twisting it up and down, turning it to fruition, with emotion aiding. Film, like a symphony, must pass toward an end (a ‘happy’ end, says de word) that is already there, in the very start, in every plan. An end we find in the heart of its art - unlike a painting or a photo on the wall. Therefore, when we hang a lm, or make it an installation, we can have whatever we want, but not film and no longer cinema. The film creates “dispositif ” and not the reverse. The quarrel about what is 'left' from cinema has its heart the regressing deaths and this sort of great Leviathan that is the expanded cinema. O que o filme faz que outras imagens móveis não fazem, quando não são filmes, é fechar-se em copas sobre a duração. Oferece ao espectador um jogo jogado. O  filme é uma espécie de tanquinho que bate a matéria do tempo para poder fruí-la torcida, com emoção. Pois um filme, como uma sinfonia, passa em direção a um final que já está dado a cada instante, a cada plano. Final que existe nele e não é só ‘happy end’. É sua arte de ser pela duração – à diferença de uma pintura ou foto na parede. Por isso, o cinema pendurado, ou instalado, não é filme e deixa de ser cinema. É o filme que faz variar o dispositivo e não o inverso. A querela sobre o que ‘restou’ do cinema tem no âmago suas ‘mortes’ e esta espécie de grande Leviatã que é o ‘cinema expandido’. PEPG COS-PUC-SP2016-06-29info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/25800Galaxia; No. 32 (2016)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 32 (2016)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/25800/20284Ramos, Fernão Pessoainfo:eu-repo/semantics/openAccess2024-05-15T14:01:16Zoai:ojs.pkp.sfu.ca:article/25800Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2024-05-15T14:01:16Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false
dc.title.none.fl_str_mv But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
Mas afinal, o que sobrou do cinema? A querela dos dispositivos e o eterno retorno do fim.
title But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
spellingShingle But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
Ramos, Fernão Pessoa
film
death of cinema
expanded cinema
digital technology
film and time
dispositif.
filme
morte do cinema
cinema expandido
tecnologia digital
filme e tempo
filme dispositivo.
title_short But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
title_full But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
title_fullStr But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
title_full_unstemmed But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
title_sort But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
author Ramos, Fernão Pessoa
author_facet Ramos, Fernão Pessoa
author_role author
dc.contributor.author.fl_str_mv Ramos, Fernão Pessoa
dc.subject.por.fl_str_mv film
death of cinema
expanded cinema
digital technology
film and time
dispositif.
filme
morte do cinema
cinema expandido
tecnologia digital
filme e tempo
filme dispositivo.
topic film
death of cinema
expanded cinema
digital technology
film and time
dispositif.
filme
morte do cinema
cinema expandido
tecnologia digital
filme e tempo
filme dispositivo.
description What film does have, and other mobile pictures do not (when they are not movies), is the capacity to close itself to duration. It gives its viewers a previously played game. The film is a kind of washing machine that shakes and flips the time, twisting it up and down, turning it to fruition, with emotion aiding. Film, like a symphony, must pass toward an end (a ‘happy’ end, says de word) that is already there, in the very start, in every plan. An end we find in the heart of its art - unlike a painting or a photo on the wall. Therefore, when we hang a lm, or make it an installation, we can have whatever we want, but not film and no longer cinema. The film creates “dispositif ” and not the reverse. The quarrel about what is 'left' from cinema has its heart the regressing deaths and this sort of great Leviathan that is the expanded cinema.
publishDate 2016
dc.date.none.fl_str_mv 2016-06-29
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistas.pucsp.br/index.php/galaxia/article/view/25800
url https://revistas.pucsp.br/index.php/galaxia/article/view/25800
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistas.pucsp.br/index.php/galaxia/article/view/25800/20284
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv PEPG COS-PUC-SP
publisher.none.fl_str_mv PEPG COS-PUC-SP
dc.source.none.fl_str_mv Galaxia; No. 32 (2016)
GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 32 (2016)
1982-2553
reponame:Galáxia (São Paulo)
instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)
instacron:PUC_SP
instname_str Pontifícia Universidade Católica de São Paulo (PUC-SP)
instacron_str PUC_SP
institution PUC_SP
reponame_str Galáxia (São Paulo)
collection Galáxia (São Paulo)
repository.name.fl_str_mv Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)
repository.mail.fl_str_mv cos@pucsp.br||aidarprado@gmail.com
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