Crossing gazes: The various others in the movie Santiago

• Autor(a) principal: Schuch, Laura Wulff
• Data de Publicação: 2015
• Outros Autores: Fischer, Rosa Maria Bueno
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Verso e Reverso (Online)
• Texto Completo: https://revistas.unisinos.br/index.php/versoereverso/article/view/ver.2015.29.71.02

This work is part of a research that investigates the ways in which students of Education and Communication in Greater Porto Alegre experience and relate to the film image. This study proposes a specific focus on its data and theoretical basis: investigating how film narrative puts us in the presence of the other. Our starting points are the documentary Santiago, by João Moreira Salles, and the empirical research data, composed of individual interviews with students about their relation with image and textual productions on their experience with specific movies worked in the classroom. We understand, along with Didi-Huberman, that the image assumes a split of the act of seeing, in which what we look at looks back at us. In this movie, these looks are multiplied: there is a crossing of gazes within Santiago, between filmmaker and interviewee, employer and steward, director and raw materials; and all these gazes also meet and reflect the viewer’s gaze. These various others may open questions regarding image and the thought it presents. After all, the film image, according to Badiou, is a kind of raw material through which the cinema “thinks”; it also brings out the radical experience of the other. According to Carlos Skliar, this outburst of the other gives us back our own “being other”. In the intertwining of these concepts and empirical data on young people’s experience of image, in which they narrate self-transformation as a result of this contact, we try to think cinema also as a form of ethical and aesthetic education, starting from Michel Foucault’s reflections about care for the self as an ethical practice of freedom.Keywords: other, cinema, experience.