| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 11.02 MB | Adobe PDF |
Abstract(s)
O espaço cinematográfico elabora-se, desde sempre, através de um diálogo contínuo com outros domínios criativos. A partir do filme documentário A Palavra, o presente estudo analisa o ponto preciso em que podemos ver na acção das suas imagens a possibilidade de inserção/relançamento teórico das noções de atletismo afectivo, sensação e único, resgatadas de Antonin Artaud, Gilles Deleuze e Max Stirner, respectivamente, tal como o traço genealógico/cinematográfico que desenha a sua paisagem referencial. Fixados no espaço restrito em que se obstinam por afirmar o corpo humano como elemento fundacional da sua “acção teórica”, tais conceitos definem a lógica interna do objecto fílmico em análise, convertendo-se, este, em possibilidade de conformação espácio-temporal de um lugar de acolhimento e irrupção de um corpo determinado, modelado pelas sensações que o percorrem, ou ainda, numa espécie de linha de variação/experimentação independente, face a critérios e procedimentos estipulativos de um esquema
narrativo convencional, definindo um encadeamento de acções segundo a necessidade ou a verosimilhança, os imperativos de uma intriga ou de uma história a contar.
Criaram-se dois grupos temáticos: Corpo e Metodologias, cada um subdividindo-se em três pontos fundamentais, não necessariamente distintos. O primeiro desdobra-se em: O Único, Atletismo Afectivo e Lógica da Intensidade; O segundo em: Investigação, Produção e Pós-Produção. Através de análises parciais pretende-se formular um todo inteligível que possa constituir uma aproximação crítica face ao filme documentário A Palavra.
The cinematic space has always been drawn up through a continuous dialogue with other creative fields. From the documentary film A Palavra, the present study analyzes the precise point where we can see, through its images, the possibility of inserting / relaunch the theoretical notions of affective athleticism, sensation, and ego, rescued from Antonin Artaud, Gilles Deleuze and Max Stirner, respectively, as the genealogical/cinematographic trace that draws its referencial landscape. Fixed in the restricted space in which they persist claiming the human body as a foundational element of its “theoretical action”, such concepts define the internal logic of the analyzed film, converting itself into possibility of shaping a spatiotemporal place of irruption of a particular body, modeled by the sensations that go through it, or even a kind of variation / experimentation independent line against common criteria and procedures of a conventional narrative scheme, defining a chain of actions according necessity or likelihood, the imperatives of a plot or a story to tell. One created two thematic groups: Body and Methodologies not necessarily distinct, each one subdivided into three fundamental points. The first chapter unfolds into: The Ego, Affective Athleticism and Logic of Intensity; The second chapter: Research, Production and Post-Production. Through partial analysis we aim to formulate an intelligible whole which would constitute a critical approach to the documentary film A Palavra.
The cinematic space has always been drawn up through a continuous dialogue with other creative fields. From the documentary film A Palavra, the present study analyzes the precise point where we can see, through its images, the possibility of inserting / relaunch the theoretical notions of affective athleticism, sensation, and ego, rescued from Antonin Artaud, Gilles Deleuze and Max Stirner, respectively, as the genealogical/cinematographic trace that draws its referencial landscape. Fixed in the restricted space in which they persist claiming the human body as a foundational element of its “theoretical action”, such concepts define the internal logic of the analyzed film, converting itself into possibility of shaping a spatiotemporal place of irruption of a particular body, modeled by the sensations that go through it, or even a kind of variation / experimentation independent line against common criteria and procedures of a conventional narrative scheme, defining a chain of actions according necessity or likelihood, the imperatives of a plot or a story to tell. One created two thematic groups: Body and Methodologies not necessarily distinct, each one subdivided into three fundamental points. The first chapter unfolds into: The Ego, Affective Athleticism and Logic of Intensity; The second chapter: Research, Production and Post-Production. Through partial analysis we aim to formulate an intelligible whole which would constitute a critical approach to the documentary film A Palavra.
Description
Keywords
Espaço-tempo Corpo Intensidade Documentário Time-space Body Intensity Documentary