Diante de Godard: história, imagem e multiplicidade temporal
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/9583 |
Resumo: | This research has as object the temporal multiplicity of the image from the cinematographic production of Jean-Luc Godard. It is a question of thinking the temporal multiplicity of history through the filmic images produced by the filmmaker to his way of making movies. This one that innovated in its time when giving protagonism and to show that it was possible to write with the camera. The moving image, the assembly and the own thinking with images in the work of Godard reveal to us multiple layers of heterogeneous times that elucidates the affirmation of the philosopher and historian of the art Georges Didi-Huberman that "when before the image, we are before the time" . Thinking about the multiple times of the image in the cinematographic field implies recognizing its discontinuities and different rhythms as the image "will survive" for the sake of holding more experience and expectation than the being who observes it. Thus, the strata of time described by the German historian Reinhart Koselleck refer not only to the past, but also to the future that opens up as a possibility / projection. In this way, both Didi-Huberman and Koselleck help us to understand Godard's complex time-frame. |
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Capel, Heloísa Selma Fernandeshttp://lattes.cnpq.br/0202627724737454Capel, Heloisa Selma FernandesMonteiro, Paulo RobertoQuadros, Eduardo Gusmão deSilva, Ademir Luiz daNazareno, Eliashttp://lattes.cnpq.br/5271017079943016Silva, Henrique Martins da2019-05-08T13:30:29Z2019-03-28SILVA, H. M. Diante de Godard: história, imagem e multiplicidade temporal. 2019. 220 f. Tese (Doutorado em História) - Universidade Federal de Goiás, Goiânia, 2019.http://repositorio.bc.ufg.br/tede/handle/tede/9583This research has as object the temporal multiplicity of the image from the cinematographic production of Jean-Luc Godard. It is a question of thinking the temporal multiplicity of history through the filmic images produced by the filmmaker to his way of making movies. This one that innovated in its time when giving protagonism and to show that it was possible to write with the camera. The moving image, the assembly and the own thinking with images in the work of Godard reveal to us multiple layers of heterogeneous times that elucidates the affirmation of the philosopher and historian of the art Georges Didi-Huberman that "when before the image, we are before the time" . Thinking about the multiple times of the image in the cinematographic field implies recognizing its discontinuities and different rhythms as the image "will survive" for the sake of holding more experience and expectation than the being who observes it. Thus, the strata of time described by the German historian Reinhart Koselleck refer not only to the past, but also to the future that opens up as a possibility / projection. In this way, both Didi-Huberman and Koselleck help us to understand Godard's complex time-frame.Esta pesquisa tem como objeto a multiplicidade temporal da imagem a partir da produção cinematográfica de Jean-Luc Godard. Trata-se de pensar a multiplicidade temporal da história por meio das imagens fílmicas produzidas pelo cineasta ao seu modo de fazer cinema. Este que inovou em sua época ao dar protagonismo e mostrar que era possível escrever com a câmera. A imagem em movimento, a montagem e o próprio pensar com imagens na obra de Godard nos revelam múltiplas camadas de tempos heterogêneos que elucida a afirmação do filósofo e historiador da arte Georges Didi-Huberman que “quando diante da imagem, estamos diante do tempo”. Pensar os múltiplos tempos da imagem, no campo cinematográfico, implica em reconhecer suas descontinuidades e diferentes ritmos à medida que a imagem nos “sobreviverá” pelo motivo de deter mais experiência e expectativa do que o ser que a observa. Assim, os estratos do tempo descritos pelo historiador alemão Reinhart Koselleck não se referem apenas ao passado, mas também ao futuro que se abre enquanto possibilidade/projeção. Dessa forma, tanto Didi-Huberman, quanto Koselleck nos ajudam a compreender a complexa montagem-tempo de Godard.Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2019-05-07T15:46:32Z No. of bitstreams: 2 Tese - Henrique Martins da Silva - 2019.pdf: 3085840 bytes, checksum: 01576ec4da106a2ccc4c8486c0bc366f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2019-05-08T13:30:29Z (GMT) No. of bitstreams: 2 Tese - Henrique Martins da Silva - 2019.pdf: 3085840 bytes, checksum: 01576ec4da106a2ccc4c8486c0bc366f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2019-05-08T13:30:29Z (GMT). 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dc.title.eng.fl_str_mv |
Diante de Godard: história, imagem e multiplicidade temporal |
dc.title.alternative.eng.fl_str_mv |
Facing Godard: history, image and temporal multiplicity |
title |
Diante de Godard: história, imagem e multiplicidade temporal |
spellingShingle |
Diante de Godard: história, imagem e multiplicidade temporal Silva, Henrique Martins da Tempo Imagem História Cinema Godard time Image History Cinema Godard CIENCIAS HUMANAS::HISTORIA |
title_short |
Diante de Godard: história, imagem e multiplicidade temporal |
title_full |
Diante de Godard: história, imagem e multiplicidade temporal |
title_fullStr |
Diante de Godard: história, imagem e multiplicidade temporal |
title_full_unstemmed |
Diante de Godard: história, imagem e multiplicidade temporal |
title_sort |
Diante de Godard: história, imagem e multiplicidade temporal |
author |
Silva, Henrique Martins da |
author_facet |
Silva, Henrique Martins da |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Capel, Heloísa Selma Fernandes |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/0202627724737454 |
dc.contributor.referee1.fl_str_mv |
Capel, Heloisa Selma Fernandes |
dc.contributor.referee2.fl_str_mv |
Monteiro, Paulo Roberto |
dc.contributor.referee3.fl_str_mv |
Quadros, Eduardo Gusmão de |
dc.contributor.referee4.fl_str_mv |
Silva, Ademir Luiz da |
dc.contributor.referee5.fl_str_mv |
Nazareno, Elias |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/5271017079943016 |
dc.contributor.author.fl_str_mv |
Silva, Henrique Martins da |
contributor_str_mv |
Capel, Heloísa Selma Fernandes Capel, Heloisa Selma Fernandes Monteiro, Paulo Roberto Quadros, Eduardo Gusmão de Silva, Ademir Luiz da Nazareno, Elias |
dc.subject.por.fl_str_mv |
Tempo Imagem História Cinema |
topic |
Tempo Imagem História Cinema Godard time Image History Cinema Godard CIENCIAS HUMANAS::HISTORIA |
dc.subject.eng.fl_str_mv |
Godard time Image History Cinema Godard |
dc.subject.cnpq.fl_str_mv |
CIENCIAS HUMANAS::HISTORIA |
description |
This research has as object the temporal multiplicity of the image from the cinematographic production of Jean-Luc Godard. It is a question of thinking the temporal multiplicity of history through the filmic images produced by the filmmaker to his way of making movies. This one that innovated in its time when giving protagonism and to show that it was possible to write with the camera. The moving image, the assembly and the own thinking with images in the work of Godard reveal to us multiple layers of heterogeneous times that elucidates the affirmation of the philosopher and historian of the art Georges Didi-Huberman that "when before the image, we are before the time" . Thinking about the multiple times of the image in the cinematographic field implies recognizing its discontinuities and different rhythms as the image "will survive" for the sake of holding more experience and expectation than the being who observes it. Thus, the strata of time described by the German historian Reinhart Koselleck refer not only to the past, but also to the future that opens up as a possibility / projection. In this way, both Didi-Huberman and Koselleck help us to understand Godard's complex time-frame. |
publishDate |
2019 |
dc.date.accessioned.fl_str_mv |
2019-05-08T13:30:29Z |
dc.date.issued.fl_str_mv |
2019-03-28 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
SILVA, H. M. Diante de Godard: história, imagem e multiplicidade temporal. 2019. 220 f. Tese (Doutorado em História) - Universidade Federal de Goiás, Goiânia, 2019. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/9583 |
identifier_str_mv |
SILVA, H. M. Diante de Godard: história, imagem e multiplicidade temporal. 2019. 220 f. Tese (Doutorado em História) - Universidade Federal de Goiás, Goiânia, 2019. |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/9583 |
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por |
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por |
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openAccess |
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Universidade Federal de Goiás |
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UFG |
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Universidade Federal de Goiás |
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