The semiotics of drive images in the film Black Swan (2010)

Detalhes bibliográficos
Autor(a) principal: Costa, Rafael Wagner dos Santos
Data de Publicação: 2021
Tipo de documento: Artigo
Idioma: por
Título da fonte: Intexto (Porto Alegre)
Texto Completo: https://seer.ufrgs.br/index.php/intexto/article/view/109455
Resumo: This paper aims to analyze by the theoretical perspective of Charles Sanders Peirce the constitution of the drive images in the film Black Swan (2010), directed by Darren Aronofsky. To this finality, we understand that the drive image, a type of movement image created and developed by Gilles Deleuze, is formed by the original world and the derived environment, which can be entropic and/or cyclical. It is the drives of the good and evil, embodied in the figures of the white swan and the black swan, that permeate Aronofsky's feature film. Thus, through the analysis of scenes and frames, we approach how the manifestation and functioning of these drive images occurs through the semiotic prism. We conclude, corroborating Deleuze's hypothesis, that the drive image is caught between an affection image and an action image because this cinematographic sign does not necessarily constitute an icon or an index, but occupies a space allocated in the vacuum between both, establishing, in this way, a constant sensation, understood in the threshold between a phenomenon of firstness and another of secondness.
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spelling The semiotics of drive images in the film Black Swan (2010)A semiótica das imagens-pulsão no filme Cisne Negro (2010)CinemaImagem-pulsãoSemióticaPrimeiridadeSecundidadeCinema. Drive Image. Semiotics. Firstness. Secondness.This paper aims to analyze by the theoretical perspective of Charles Sanders Peirce the constitution of the drive images in the film Black Swan (2010), directed by Darren Aronofsky. To this finality, we understand that the drive image, a type of movement image created and developed by Gilles Deleuze, is formed by the original world and the derived environment, which can be entropic and/or cyclical. It is the drives of the good and evil, embodied in the figures of the white swan and the black swan, that permeate Aronofsky's feature film. Thus, through the analysis of scenes and frames, we approach how the manifestation and functioning of these drive images occurs through the semiotic prism. We conclude, corroborating Deleuze's hypothesis, that the drive image is caught between an affection image and an action image because this cinematographic sign does not necessarily constitute an icon or an index, but occupies a space allocated in the vacuum between both, establishing, in this way, a constant sensation, understood in the threshold between a phenomenon of firstness and another of secondness.Este artigo tem como objetivo analisar, sob o viés teórico de Charles Sanders Peirce, a constituição das imagens-pulsão presentes no filme Cisne Negro (2010), de Darren Aronofsky. Para tanto, entendemos que a imagem-pulsão, tipo de imagem-movimento criada e desenvolvida por Gilles Deleuze, é formada pelo mundo originário e pelo meio derivado, podendo ser entrópica e/ou cíclica. São as pulsões do bem e do mal, corporificadas nas figuras do cisne branco e do cisne negro, que permeiam o longa-metragem de Aronofsky. Assim, através da análise de cenas e fotogramas, abordamos como se dá a manifestação e o funcionamento dessas imagens-pulsão pelo prisma semiótico. Concluímos, corroborando a hipótese de Deleuze, que a imagem-pulsão se encontra entalada entre uma imagem-afecção e uma imagem-ação pelo fato desse signo cinematográfico não constituir necessariamente um ícone ou um índice, mas ocupando um espaço alocado no vácuo entre os dois, instaurando, dessa forma, uma sensação constante, compreendida no limiar entre um fenômeno de primeiridade e outro de secundidade peirceana.Universidade Federal do Rio Grande do Sul2021-07-02info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufrgs.br/index.php/intexto/article/view/10945510.19132/1807-8583202152.109455Intexto; No. 52 (2021); 109455Intexto; Núm. 52 (2021); 109455Intexto; No. 52 (2021); 109455Intexto; N. 52 (2021); 109455Intexto; n. 52 (2021); 1094551807-8583reponame:Intexto (Porto Alegre)instname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/intexto/article/view/109455/63446Copyright (c) 2021 Rafael Wagner dos Santos Costahttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessCosta, Rafael Wagner dos Santos2023-02-06T12:45:13Zoai:seer.ufrgs.br:article/109455Revistahttp://seer.ufrgs.br/intextoONGhttp://seer.ufrgs.br/intexto/oai||intexto@ufrgs.br1807-85831807-8583opendoar:2023-02-06T12:45:13Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv The semiotics of drive images in the film Black Swan (2010)
A semiótica das imagens-pulsão no filme Cisne Negro (2010)
title The semiotics of drive images in the film Black Swan (2010)
spellingShingle The semiotics of drive images in the film Black Swan (2010)
Costa, Rafael Wagner dos Santos
Cinema
Imagem-pulsão
Semiótica
Primeiridade
Secundidade
Cinema. Drive Image. Semiotics. Firstness. Secondness.
title_short The semiotics of drive images in the film Black Swan (2010)
title_full The semiotics of drive images in the film Black Swan (2010)
title_fullStr The semiotics of drive images in the film Black Swan (2010)
title_full_unstemmed The semiotics of drive images in the film Black Swan (2010)
title_sort The semiotics of drive images in the film Black Swan (2010)
author Costa, Rafael Wagner dos Santos
author_facet Costa, Rafael Wagner dos Santos
author_role author
dc.contributor.author.fl_str_mv Costa, Rafael Wagner dos Santos
dc.subject.por.fl_str_mv Cinema
Imagem-pulsão
Semiótica
Primeiridade
Secundidade
Cinema. Drive Image. Semiotics. Firstness. Secondness.
topic Cinema
Imagem-pulsão
Semiótica
Primeiridade
Secundidade
Cinema. Drive Image. Semiotics. Firstness. Secondness.
description This paper aims to analyze by the theoretical perspective of Charles Sanders Peirce the constitution of the drive images in the film Black Swan (2010), directed by Darren Aronofsky. To this finality, we understand that the drive image, a type of movement image created and developed by Gilles Deleuze, is formed by the original world and the derived environment, which can be entropic and/or cyclical. It is the drives of the good and evil, embodied in the figures of the white swan and the black swan, that permeate Aronofsky's feature film. Thus, through the analysis of scenes and frames, we approach how the manifestation and functioning of these drive images occurs through the semiotic prism. We conclude, corroborating Deleuze's hypothesis, that the drive image is caught between an affection image and an action image because this cinematographic sign does not necessarily constitute an icon or an index, but occupies a space allocated in the vacuum between both, establishing, in this way, a constant sensation, understood in the threshold between a phenomenon of firstness and another of secondness.
publishDate 2021
dc.date.none.fl_str_mv 2021-07-02
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://seer.ufrgs.br/index.php/intexto/article/view/109455
10.19132/1807-8583202152.109455
url https://seer.ufrgs.br/index.php/intexto/article/view/109455
identifier_str_mv 10.19132/1807-8583202152.109455
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/109455/63446
dc.rights.driver.fl_str_mv Copyright (c) 2021 Rafael Wagner dos Santos Costa
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 Rafael Wagner dos Santos Costa
https://creativecommons.org/licenses/by-nc/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Intexto; No. 52 (2021); 109455
Intexto; Núm. 52 (2021); 109455
Intexto; No. 52 (2021); 109455
Intexto; N. 52 (2021); 109455
Intexto; n. 52 (2021); 109455
1807-8583
reponame:Intexto (Porto Alegre)
instname:Universidade Federal do Rio Grande do Sul (UFRGS)
instacron:UFRGS
instname_str Universidade Federal do Rio Grande do Sul (UFRGS)
instacron_str UFRGS
institution UFRGS
reponame_str Intexto (Porto Alegre)
collection Intexto (Porto Alegre)
repository.name.fl_str_mv Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)
repository.mail.fl_str_mv ||intexto@ufrgs.br
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