O NEOHUMANO: corpos e virtualidades no cinema de David Cronenberg

• Autor(a) principal: Barbosa, Alex Santos
• Data de Publicação: 2014
• Outros Autores: [e-mail]
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/17103
• topic: Body; Corpo; Cinema; Virtual; Cronenberg, David, 1943-; Corpo como suporte da arte; Realidade virtual na arte; Cinema canadense; LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA

It aims to investigate how the dialog between real and virtual and the condition of the body as a mediator and locus of manifestation and representation of this relation, more specifically, in David Cronenberg, has been given in contemporary cinema. The period in which the research is delimited is focused from the mid-1970s (approx. 1975) to the present day, because it is understood that this period comprises a moment of aesthetic-creative unity experienced by the aforementioned director, as well as several Phenomena that contextualize, often in a basic way, the themes, forms and aesthetic options observed of the work of the author in question. It is intended to carry out a specific analysis of the theme within the cinema of David Cronenberg, more specifically in "eXistenZ" (1999), contextualizing with the scientific / artistic / cultural production, specifically that focused on real / virtual and representation of the body, and analyze If it collaborates for the introduction of new elements by which the "chronenbergian" work can be thought or vice versa. It has been previously verified that the existing academic production points to a keen perception of reality by the director David Cronenberg (who is attuned to the technological innovations and their implications in the perception of the real) and his deep reflection, of an essayistic character in some films, about Of organic technologies and of the place of cinema as an expression. Linked to this investigation are the theoretical discussions about body, reflexivity, representation and cinematic language. The aesthetic organism used by the director will not be despised, since it is understood that this is part of the construction of the discourse about the body and its relation to the idea thought by Cronenberg