Imagem em ação: para um cinema do corpo

• Ano de defesa: 2011
• Autor(a) principal: Silva, Monica Toledo
• Orientador(a): Machado, Arlindo
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Comunicação e Semiótica
• Departamento: Comunicação
• País: BR
• Palavras-chave em Português: Corpo; Cinema; Ação; Audiovisual; Performance
• Palavras-chave em Inglês: Body; Action; Performance
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://tede2.pucsp.br/handle/handle/4318

This thesis proposes the understanding of cinema as a body narrative, and suggests that the making of an audiovisual piece is a performance act. In order to comprehend some audiovisual pieces as cinemas of the body, I draw from the phenomenology of Maurice Merleau-Ponty (1908-1961) as well as the cognitive sciences and the paradigm of the mediabody theory (teoria corpomídia). I suggest that some cinema artists' works point to the concepts of the body-as-phenomenon, from the way they create images in the audiovisual environment to modes of creating sense, such as the montage, the direction, and the script. I contend that the making of a work is part of a living body, of the author s own images, memories and imagination, re-creations of personal representations in works that are always thought-processes belonging to a living body, therefore unstable and unfinished. The main focus here are the ways narrative constructs body-contents in the audiovisual environment from film to videoart, videoperformance, videoinstalation, depending on the media appropriation with which each author identifies himself best in each work. Cinema scholar Noel Burch, in discussing personal representations, departs from the understanding of actions as provisories in order to propose new possibilities in filmic discourse. As I present the idea of a cinema of the body, the works of Gus van Sant (Paranoid park, 2007) and Krzystof Kieslowski (A short story about killing, 1988) are taken as narratives of the living body represented on the cinematic codes, thus working as starting points to my comments on further film works. Each on his own way, these authors construct a classic narrative-free cinema, and closer to an action-thought cinema (pensamento-ação): a cinema that diffuses body states in moving images; the audiovisual piece as a fragment of time and space, and a performance act. The idea of action-thought also leads to two video pieces made by myself, in an artistic experiment of the very narrative I am mapping out throughout the thesis: discontinuous and fragmented, body narratives. The body is thus posed as a communication sign in the audiovisual environment, and the action-thought as the way to organize a film