An abstract landscape: Fargo, the error and the mental-image

Detalhes bibliográficos
Autor(a) principal: Martins Ladeira, João
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/99882
Resumo: Fargo, a film by Joel and Ethan Coen, will be analyzed aiming to interpret it towards Deleuze's concept of mental-image. Despite his apparent format of conventional crime comedy, this opus consists of an example of a work localized at the edge of classical cinema, never breaking with its limits. The film is understood as an indication of a detachment from the action-image, recurring less to the synsign/binomial, resource intrinsic to the secondness. In Fargo, the contraposition between the acts and the events which will guide then from a situation to another becomes dispensable. Submitting the gestures to an idea, it becomes possible to the movie to operate according to a thirdness, introducing thinking in the image and conferring centrality to a concept defined by the error, which the work happens to be his illustration. Fargo exploits this mechanic, in gestures condemned to conduct to the destruction of everything that constitutes his plot.
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spelling An abstract landscape: Fargo, the error and the mental-imageUma paisagem abstrata: Fargo, o erro e a imagem-mentalImagem-mentalIrmãos CoenDeleuzeMental-imageCoen BrothersDeleuzeFargo, a film by Joel and Ethan Coen, will be analyzed aiming to interpret it towards Deleuze's concept of mental-image. Despite his apparent format of conventional crime comedy, this opus consists of an example of a work localized at the edge of classical cinema, never breaking with its limits. The film is understood as an indication of a detachment from the action-image, recurring less to the synsign/binomial, resource intrinsic to the secondness. In Fargo, the contraposition between the acts and the events which will guide then from a situation to another becomes dispensable. Submitting the gestures to an idea, it becomes possible to the movie to operate according to a thirdness, introducing thinking in the image and conferring centrality to a concept defined by the error, which the work happens to be his illustration. Fargo exploits this mechanic, in gestures condemned to conduct to the destruction of everything that constitutes his plot.Analisa-se Fargo, filme de Joel e Ehan Coen, na expectativa de interpretá-lo a partir do conceito de Deleuze de imagem-mental. A despeito de seu formato aparentemente convencional de comédia de crime, a obra é aqui entendida como exemplo de um trabalho localizado na fronteira do cinema clássico, sem nunca romper com seus limites. Compreende-se o filme como indício de um deslocamento na imagem-ação, recorrendo menos ao synsigno/binômio, recurso intrínseco à segundidade. Em Fargo, torna-se dispensável a contraposição entre os eventos e os atos que os guiariam de uma situação a outra. Ao se subordinar os gestos a uma ideia, faz-se com que tal filme opere segundo uma terceiridade, introduzindo pensamento na imagem e conferindo centralidade a um conceito que se define pelo erro, do qual a obra se torna sua ilustração. Fargo explora essa mecânica, em gestos fadados a conduzirem à destruição de tudo que compõe a trama.Universidade Federal do Rio Grande do Sul2021-11-09info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionCinema, Imagem-movimento, Imagem-mentalapplication/pdfhttps://seer.ufrgs.br/index.php/intexto/article/view/9988210.19132/1807-8583202152.99882Intexto; No. 52 (2021); 99882Intexto; Núm. 52 (2021); 99882Intexto; No. 52 (2021); 99882Intexto; N. 52 (2021); 99882Intexto; n. 52 (2021); 998821807-8583reponame:Intexto (Porto Alegre)instname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/intexto/article/view/99882/65033Copyright (c) 2021 João Martins Ladeirahttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessMartins Ladeira, João2023-02-06T11:32:01Zoai:seer.ufrgs.br:article/99882Revistahttp://seer.ufrgs.br/intextoONGhttp://seer.ufrgs.br/intexto/oai||intexto@ufrgs.br1807-85831807-8583opendoar:2023-02-06T11:32:01Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv An abstract landscape: Fargo, the error and the mental-image
Uma paisagem abstrata: Fargo, o erro e a imagem-mental
title An abstract landscape: Fargo, the error and the mental-image
spellingShingle An abstract landscape: Fargo, the error and the mental-image
Martins Ladeira, João
Imagem-mental
Irmãos Coen
Deleuze
Mental-image
Coen Brothers
Deleuze
title_short An abstract landscape: Fargo, the error and the mental-image
title_full An abstract landscape: Fargo, the error and the mental-image
title_fullStr An abstract landscape: Fargo, the error and the mental-image
title_full_unstemmed An abstract landscape: Fargo, the error and the mental-image
title_sort An abstract landscape: Fargo, the error and the mental-image
author Martins Ladeira, João
author_facet Martins Ladeira, João
author_role author
dc.contributor.author.fl_str_mv Martins Ladeira, João
dc.subject.por.fl_str_mv Imagem-mental
Irmãos Coen
Deleuze
Mental-image
Coen Brothers
Deleuze
topic Imagem-mental
Irmãos Coen
Deleuze
Mental-image
Coen Brothers
Deleuze
description Fargo, a film by Joel and Ethan Coen, will be analyzed aiming to interpret it towards Deleuze's concept of mental-image. Despite his apparent format of conventional crime comedy, this opus consists of an example of a work localized at the edge of classical cinema, never breaking with its limits. The film is understood as an indication of a detachment from the action-image, recurring less to the synsign/binomial, resource intrinsic to the secondness. In Fargo, the contraposition between the acts and the events which will guide then from a situation to another becomes dispensable. Submitting the gestures to an idea, it becomes possible to the movie to operate according to a thirdness, introducing thinking in the image and conferring centrality to a concept defined by the error, which the work happens to be his illustration. Fargo exploits this mechanic, in gestures condemned to conduct to the destruction of everything that constitutes his plot.
publishDate 2021
dc.date.none.fl_str_mv 2021-11-09
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Cinema, Imagem-movimento, Imagem-mental
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/99882
10.19132/1807-8583202152.99882
url https://seer.ufrgs.br/index.php/intexto/article/view/99882
identifier_str_mv 10.19132/1807-8583202152.99882
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/99882/65033
dc.rights.driver.fl_str_mv Copyright (c) 2021 João Martins Ladeira
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 João Martins Ladeira
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); 99882
Intexto; Núm. 52 (2021); 99882
Intexto; No. 52 (2021); 99882
Intexto; N. 52 (2021); 99882
Intexto; n. 52 (2021); 99882
1807-8583
reponame:Intexto (Porto Alegre)
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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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