Surfaces of desire: a portrait of the cinematic experience based on shirin
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10400.14/34662 |
Resumo: | A film contains signs of its director’s intentionality, determining what spectators can see and hear, but also what is kept hidden from their senses. This entails an idealised conception of the film’s reception based on those decisions, decisively influencing the viewer’s relationship with the film and the level of engagement with it. The evocation of desires, frustrations and tensions in the individual and collective lives of spectators creates an opportunity to deal with, confront or even resolve real-life issues through the cinematic experience. Thus, in its signifying nature, a film contains the polysemy necessary for new pathways to be revealed for the film and for those who experience it with each viewing. Shirin (Abbas Kiarostami, 2008) is a paradigmatic work for this inquiry into the processes and impacts inherent in film reception. Combining the soundtrack of a mythological tale and the performance of spectators (actresses) who relate emotionally to the narrative, Shirin offers an open journey through the ghosts of the implicit and explicit realities of its protagonists. Based on an analysis of Kiarostami’s film, this article aims to identify and relate different aspects, proximities and distances that comprise the complexity and personal involvement of watching a film, exploring the film screen and spectators as sensory surfaces where the codes for unveiling unfulfilled desires emerge. |
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Surfaces of desire: a portrait of the cinematic experience based on shirinSuperficies del anhelo: un retrato de la experiencia cinematográfica a partir de shirinFilmReceptionExperienceSpectatorFaceScreenShirinKiarostamiCineEspectadorRecepciónExperienciaRostroPantallaA film contains signs of its director’s intentionality, determining what spectators can see and hear, but also what is kept hidden from their senses. This entails an idealised conception of the film’s reception based on those decisions, decisively influencing the viewer’s relationship with the film and the level of engagement with it. The evocation of desires, frustrations and tensions in the individual and collective lives of spectators creates an opportunity to deal with, confront or even resolve real-life issues through the cinematic experience. Thus, in its signifying nature, a film contains the polysemy necessary for new pathways to be revealed for the film and for those who experience it with each viewing. Shirin (Abbas Kiarostami, 2008) is a paradigmatic work for this inquiry into the processes and impacts inherent in film reception. Combining the soundtrack of a mythological tale and the performance of spectators (actresses) who relate emotionally to the narrative, Shirin offers an open journey through the ghosts of the implicit and explicit realities of its protagonists. Based on an analysis of Kiarostami’s film, this article aims to identify and relate different aspects, proximities and distances that comprise the complexity and personal involvement of watching a film, exploring the film screen and spectators as sensory surfaces where the codes for unveiling unfulfilled desires emerge.Una película evidencia marcas de la intencionalidad de su director, determinando lo que el espectador puede ver y escuchar, pero también lo que permanece escondido de sus sentidos. Eso presupone idealizar la recepción fílmica a partir de esas decisiones, influyendo decisivamente en la relación del receptor con el filme y los grados de su envolvimiento con él. Convocar deseos, frustraciones y tensiones procedentes de la vida individual y colectiva del espectador conlleva la emersión de una oportunidad de manejar, confrontar o, incluso, solucionar cuestiones reales a través de la experiencia cinematográfica. Así, una obra fílmica encierra, en su carácter significante, la polisemia necesaria para que, en cada visionado, nuevos caminos se revelen para la película y para quien la vivencia. Shirin (Abbas Kiarostami, 2008) constituye una obra paradigmática en lo que concierne a esta indagación de los procesos e impactos inherentes a la recepción fílmica. Mezclando la escenificación sonora de un cuento mitológico y la performance de espectadoras (actrices) que se relacionan emocionalmente con la narrativa, Shirin entabla un trayecto abierto por los fantasmas de las realidades implícitas y explícitas de sus protagonistas. A partir del análisis de la película de Kiarostami, este artículo pretende identificar y relacionar diferentes aspectos, proximidades y distancias que conforman la complejidad e implicación vital de ver un filme, indagando la pantalla y los espectadores como superficies sensibles donde asoman los códigos-clave para desvelar anhelos por cumplir.Veritati - Repositório Institucional da Universidade Católica PortuguesaAlves, Pedro2021-09-06T18:03:03Z20212021-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfapplication/pdfhttp://hdl.handle.net/10400.14/34662eng1885-373085127386354000680674600021info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-12-12T01:34:28Zoai:repositorio.ucp.pt:10400.14/34662Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T18:28:05.924321Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Surfaces of desire: a portrait of the cinematic experience based on shirin Superficies del anhelo: un retrato de la experiencia cinematográfica a partir de shirin |
title |
Surfaces of desire: a portrait of the cinematic experience based on shirin |
spellingShingle |
Surfaces of desire: a portrait of the cinematic experience based on shirin Alves, Pedro Film Reception Experience Spectator Face Screen Shirin Kiarostami Cine Espectador Recepción Experiencia Rostro Pantalla |
title_short |
Surfaces of desire: a portrait of the cinematic experience based on shirin |
title_full |
Surfaces of desire: a portrait of the cinematic experience based on shirin |
title_fullStr |
Surfaces of desire: a portrait of the cinematic experience based on shirin |
title_full_unstemmed |
Surfaces of desire: a portrait of the cinematic experience based on shirin |
title_sort |
Surfaces of desire: a portrait of the cinematic experience based on shirin |
author |
Alves, Pedro |
author_facet |
Alves, Pedro |
author_role |
author |
dc.contributor.none.fl_str_mv |
Veritati - Repositório Institucional da Universidade Católica Portuguesa |
dc.contributor.author.fl_str_mv |
Alves, Pedro |
dc.subject.por.fl_str_mv |
Film Reception Experience Spectator Face Screen Shirin Kiarostami Cine Espectador Recepción Experiencia Rostro Pantalla |
topic |
Film Reception Experience Spectator Face Screen Shirin Kiarostami Cine Espectador Recepción Experiencia Rostro Pantalla |
description |
A film contains signs of its director’s intentionality, determining what spectators can see and hear, but also what is kept hidden from their senses. This entails an idealised conception of the film’s reception based on those decisions, decisively influencing the viewer’s relationship with the film and the level of engagement with it. The evocation of desires, frustrations and tensions in the individual and collective lives of spectators creates an opportunity to deal with, confront or even resolve real-life issues through the cinematic experience. Thus, in its signifying nature, a film contains the polysemy necessary for new pathways to be revealed for the film and for those who experience it with each viewing. Shirin (Abbas Kiarostami, 2008) is a paradigmatic work for this inquiry into the processes and impacts inherent in film reception. Combining the soundtrack of a mythological tale and the performance of spectators (actresses) who relate emotionally to the narrative, Shirin offers an open journey through the ghosts of the implicit and explicit realities of its protagonists. Based on an analysis of Kiarostami’s film, this article aims to identify and relate different aspects, proximities and distances that comprise the complexity and personal involvement of watching a film, exploring the film screen and spectators as sensory surfaces where the codes for unveiling unfulfilled desires emerge. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-09-06T18:03:03Z 2021 2021-01-01T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10400.14/34662 |
url |
http://hdl.handle.net/10400.14/34662 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
1885-3730 85127386354 000680674600021 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf application/pdf |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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