From the film frames to the minor cinema: apparatus, montage and movements in Solon Ribeiroâs work

• Autor(a) principal: AnnÃdia Leite Brito
• Data de Publicação: 2015
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFC
• Texto Completo: http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13988
• topic: fotogramas; dispositivo; montagem; sobrevivÃncia; entre-imagens; cinema menor; frames; apparatus; montage; survival; between-the-images; minor cinema; ARTES

Solon Ribeiroâs work with the frames of classical cinema inherited from his father articulates apparatus through another montage so that these images survive through constant variations made by his gestures in a minor cinema. The solo exhibitions O golpe do corte (2005), Quando o cinema se desfaz em fotograma (2009) and O cinema à meu playground (2013) are investigated following the development of his work over the course of time. The methodology used takes the body of workâs singularities into account to promote the encounter with the theories of important authors, turning them into intercessors in the construction of the discussion. Furthermore, a documental research was accomplished, which included conversations with the artist â Appendix A in the thesis â and the reunion and analysis of archive material regarding his exhibitions. Starting with apparatus theory on film (BAUDRY), the research moves to the concept of apparatus on Agambenâs and Flusserâs philosophy and dispositif on Deleuzeâs philosophy, expanding the understanding of cinema to the experiences on an expanded field (PARENTE). The elements of each work are examined to point out the processes and singularities of their configurations. The processual characteristics of the artistâs work is made evident by the repeated use of given frames and by the modification of some apparatuses already shown. The transformation from the classical montage (LEONE; MOURÃO) to the ones Ribeiro produces on space turns him closer to Aby Warburgâs philosophical and historic practice in his Atlas Mnemosyne (1924-1929). The heuristic montage (DIDI-HUBERMAN) found on framesâ time collision is related to Deleuzeâs time-image, since both comprise the development of thought through images, emphasizing the difference between the fatherâs affective and collector practice and the artistâs acts of dislocation which led to framesâ survival (DIDI-HUBERMAN). The changes on each workâs time and space point out to the improbable movements (DUBOIS) placed between the framesâ apparent fluidity and immobility (BELLOUR). Ribeiroâs cinema becoming-photography (FATORELLI) leads to reflection on cinema itself and to the making of a minor cinema (DELEUZE; GUATTARI) that asserts the possibility of other cinema created from the elements of hegemonic cinemaâs form (PARENTE).