O desvio no cinema de Guy Debord

Detalhes bibliográficos
Ano de defesa: 2024
Autor(a) principal: Mota, César Carlos
Orientador(a): Acselrad, Marcio
Banca de defesa: Não Informado pela instituição
Tipo de documento: Dissertação
Tipo de acesso: Acesso aberto
Idioma: por
Instituição de defesa: Não Informado pela instituição
Programa de Pós-Graduação: Não Informado pela instituição
Departamento: Não Informado pela instituição
País: Não Informado pela instituição
Área do conhecimento CNPq:
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
Link de acesso: http://repositorio.ufc.br/handle/riufc/77284
Resumo: The European avant-gardes marked the 20th century with their desire to reformulate art and transform the world through experimentation with language and political action. Heir to the Dadaists and Surrealists, the Situationist International was the group that, bringing together art and politics, took the desire for transformation to its ultimate consequences, culminating in its decisive influence on the May 68 uprising in France. This research deals with deviation (Détournement), a communication technique that synthesizes Situationist theory and practice. It is a form of parody which, by seizing the signs of a discourse, turns them against it. As part of the research, we studied this device in the cinema of Guy Debord, founder and one of the main representatives of the Situationist International. The aim is to locate the importance of deviation in his cinematographic work, how it manifests itself, what its relationship is with editing and its mechanisms for constructing meaning. We chose as our corpus one of the six films that Debord made: "The Society of the Spectacle". The methodology consists of bibliographical research that contextualizes and defines the deviation by its presuppositions and the theories that underpin it. The semiotics of Peirce and Greimas will be discussed and articulated so that they can serve as an analytical tool and a backdrop for understanding the problems involved in the construction of meaning. Only then will we move on to deal with the deviation in Guy Debord's film, seeking to answer the questions posed by the film.
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spelling Mota, César CarlosAcselrad, Marcio2024-07-16T17:50:54Z2024-07-16T17:50:54Z2024MOTA, César Carlos. O desvio no cinema de Guy Debord. 2024. 170 f. Dissertação (Mestrado em Comunicação) – Universidade Federal do Ceará, Fortaleza, 2024.http://repositorio.ufc.br/handle/riufc/77284The European avant-gardes marked the 20th century with their desire to reformulate art and transform the world through experimentation with language and political action. Heir to the Dadaists and Surrealists, the Situationist International was the group that, bringing together art and politics, took the desire for transformation to its ultimate consequences, culminating in its decisive influence on the May 68 uprising in France. This research deals with deviation (Détournement), a communication technique that synthesizes Situationist theory and practice. It is a form of parody which, by seizing the signs of a discourse, turns them against it. As part of the research, we studied this device in the cinema of Guy Debord, founder and one of the main representatives of the Situationist International. The aim is to locate the importance of deviation in his cinematographic work, how it manifests itself, what its relationship is with editing and its mechanisms for constructing meaning. We chose as our corpus one of the six films that Debord made: "The Society of the Spectacle". The methodology consists of bibliographical research that contextualizes and defines the deviation by its presuppositions and the theories that underpin it. The semiotics of Peirce and Greimas will be discussed and articulated so that they can serve as an analytical tool and a backdrop for understanding the problems involved in the construction of meaning. Only then will we move on to deal with the deviation in Guy Debord's film, seeking to answer the questions posed by the film.As vanguardas europeias marcaram o século XX com o desejo de reformular a arte e transformar o mundo por meio da experimentação da linguagem e da ação política. Herdeira dos dadaístas e surrealistas, a Internacional Situacionista foi o grupo que, reunindo arte e política, levou às últimas consequências o desejo de transformação, culminando com sua decisiva influência na insurreição de maio de 68, na França. Esta pesquisa trata do desvio (Détournement), uma técnica comunicacional que sintetiza a teoria e a prática situacionista. É uma modalidade de paródia que, ao apoderar-se dos signos de um discurso, faz com que se voltem contra ele. Como recorte da pesquisa, estudamos este dispositivo no cinema de Guy Debord, fundador e um dos principais representantes da Internacional Situacionista. O objetivo é localizar a importância do desvio na sua obra cinematográfica, como se manifesta, qual a sua relação com a montagem e seus mecanismos de construção de sentido. Elegemos para corpus um dos seis filmes que Debord realizou: “A sociedade do espetáculo”. A metodologia consiste em pesquisa bibliográfica que contextualiza e define o desvio pelos seus pressupostos, pelas relações que contrai, e pelas teorias que lhe dão fundamento. As semióticas de Peirce e Greimas serão apresentadas discutidas e articuladas para que nos sirvam de ferramenta analítica e pano de fundo para a compreensão dos problemas envolvidos na construção do sentido. Só então passaremos a tratar do desvio no filme de Guy Debord, buscando responder às nossas indagações.Las vanguardias europeas marcaron el siglo XX con su voluntad de reformular el arte y transformar el mundo a través de la experimentación con el lenguaje y la acción política. Heredera de los dadaístas y los surrealistas, la Internacional Situacionista fue el grupo que, aunando arte y política, llevó el deseo de transformación hasta sus últimas consecuencias, culminando con su influencia decisiva en el levantamiento de mayo del 68 en Francia. Esta investigación trata de la desviación (Détournement), una técnica de comunicación que sintetiza la teoría y la práctica situacionistas. Se trata de una forma de parodia que, apoderándose de los signos de un discurso, los vuelve contra él. Como parte de la investigación, estudiamos este dispositivo en el cine de Guy Debord, fundador y uno de los principales representantes de la Internacional Situacionista. El objetivo es identificar la importancia de la desviación en su obra cinematográfica, cómo se manifiesta, cuál es su relación con el montaje y sus mecanismos de construcción de sentido. Elegimos como corpus una de las seis películas de Debord: "La sociedad del espectáculo". La metodología consiste en una investigación bibliográfica que contextualiza y define la desviación por sus presupuestos, las relaciones que contrae y las teorías que le dan fundamento. Se discutirán y articularán las semióticas de Peirce y Greimas para que sirvan de herramienta analítica y de telón de fondo para la comprensión de los problemas implicados en la construcción de sentido. Sólo entonces pasaremos a la película de Guy Debord sobre la desviación, en un intento de responder a nuestras preguntas.Les avant-gardes européennes ont marqué le XXe siècle par leur volonté de reformuler l'art et de transformer le monde par l'expérimentation du langage et l'action politique. Héritière des dadaïstes et des surréalistes, l'Internationale Situationniste est le groupe qui, associant l'art et la politique, a poussé le désir de transformation jusqu'à ses ultimes conséquences, culminant dans son influence décisive sur le soulèvement de mai 68 en France. Cette recherche porte sur le Détournement, une technique de communication qui synthétise la théorie et la pratique situationnistes. Il s'agit d'une forme de parodie qui, en s'emparant des signes d'un discours, les retourne contre lui. Dans le cadre de la recherche, nous avons étudié ce dispositif dans le cinéma de Guy Debord, fondateur et l'un des principaux représentants de l'Internationale Situationniste. Il s'agit d'identifier l'importance de la déviation dans son œuvre cinématographique, comment elle se manifeste, quelle est sa relation avec le montage et ses mécanismes de construction du sens. Nous avons choisi comme corpus l'un des six films de Debord : "La société du spectacle". La méthodologie consiste en une recherche bibliographique qui contextualise et définit la déviation par ses présupposés, les relations qu'elle contracte et les théories qui la fondent. Les sémiotiques de Peirce et de Greimas seront discutées et articulées afin qu'elles puissent servir d'outil analytique et de toile de fond pour comprendre les problèmes liés à la construction du sens. Ce n'est qu'ensuite que nous passerons au film de Guy Debord sur la déviation, pour tenter de répondre à nos questions.O desvio no cinema de Guy DebordThe deviation in Guy Debord's cinemaEl desvío en el cine de Guy DebordLa déviation dans le cinéma de Guy Debordinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisDesvioCinemaGuy DebordSemióticaArteDeviationCinemaGuy DebordSemioticsArtDesviaciónCineGuy DebordSemióticaArteDéviationCinémaGuy DebordSémiotiqueArtCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOinfo:eu-repo/semantics/openAccessporreponame:Repositório Institucional da Universidade Federal do Ceará (UFC)instname:Universidade Federal do Ceará (UFC)instacron:UFChttps://orcid.org/0009-0009-3335-3471http://lattes.cnpq.br/6803351671676768https://orcid.org/0000-0002-4926-2277http://lattes.cnpq.br/41977672840719992024-07-16ORIGINAL2024_dis_ccmota.pdf2024_dis_ccmota.pdfapplication/pdf19124262http://repositorio.ufc.br/bitstream/riufc/77284/1/2024_dis_ccmota.pdfcb17d4b8eaf5c65543f8bfc099633344MD51LICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.ufc.br/bitstream/riufc/77284/2/license.txt8a4605be74aa9ea9d79846c1fba20a33MD52riufc/772842024-07-16 14:50:57.849oai:repositorio.ufc.br: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Repositório InstitucionalPUBhttp://www.repositorio.ufc.br/ri-oai/requestbu@ufc.br || repositorio@ufc.bropendoar:2024-07-16T17:50:57Repositório Institucional da Universidade Federal do Ceará (UFC) - Universidade Federal do Ceará (UFC)false
dc.title.pt_BR.fl_str_mv O desvio no cinema de Guy Debord
dc.title.en.pt_BR.fl_str_mv The deviation in Guy Debord's cinema
dc.title.es.pt_BR.fl_str_mv El desvío en el cine de Guy Debord
dc.title.fr.pt_BR.fl_str_mv La déviation dans le cinéma de Guy Debord
title O desvio no cinema de Guy Debord
spellingShingle O desvio no cinema de Guy Debord
Mota, César Carlos
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
Desvio
Cinema
Guy Debord
Semiótica
Arte
Deviation
Cinema
Guy Debord
Semiotics
Art
Desviación
Cine
Guy Debord
Semiótica
Arte
Déviation
Cinéma
Guy Debord
Sémiotique
Art
title_short O desvio no cinema de Guy Debord
title_full O desvio no cinema de Guy Debord
title_fullStr O desvio no cinema de Guy Debord
title_full_unstemmed O desvio no cinema de Guy Debord
title_sort O desvio no cinema de Guy Debord
author Mota, César Carlos
author_facet Mota, César Carlos
author_role author
dc.contributor.author.fl_str_mv Mota, César Carlos
dc.contributor.advisor1.fl_str_mv Acselrad, Marcio
contributor_str_mv Acselrad, Marcio
dc.subject.cnpq.fl_str_mv CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
topic CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
Desvio
Cinema
Guy Debord
Semiótica
Arte
Deviation
Cinema
Guy Debord
Semiotics
Art
Desviación
Cine
Guy Debord
Semiótica
Arte
Déviation
Cinéma
Guy Debord
Sémiotique
Art
dc.subject.ptbr.pt_BR.fl_str_mv Desvio
Cinema
Guy Debord
Semiótica
Arte
dc.subject.en.pt_BR.fl_str_mv Deviation
Cinema
Guy Debord
Semiotics
Art
dc.subject.es.pt_BR.fl_str_mv Desviación
Cine
Guy Debord
Semiótica
Arte
dc.subject.fr.pt_BR.fl_str_mv Déviation
Cinéma
Guy Debord
Sémiotique
Art
description The European avant-gardes marked the 20th century with their desire to reformulate art and transform the world through experimentation with language and political action. Heir to the Dadaists and Surrealists, the Situationist International was the group that, bringing together art and politics, took the desire for transformation to its ultimate consequences, culminating in its decisive influence on the May 68 uprising in France. This research deals with deviation (Détournement), a communication technique that synthesizes Situationist theory and practice. It is a form of parody which, by seizing the signs of a discourse, turns them against it. As part of the research, we studied this device in the cinema of Guy Debord, founder and one of the main representatives of the Situationist International. The aim is to locate the importance of deviation in his cinematographic work, how it manifests itself, what its relationship is with editing and its mechanisms for constructing meaning. We chose as our corpus one of the six films that Debord made: "The Society of the Spectacle". The methodology consists of bibliographical research that contextualizes and defines the deviation by its presuppositions and the theories that underpin it. The semiotics of Peirce and Greimas will be discussed and articulated so that they can serve as an analytical tool and a backdrop for understanding the problems involved in the construction of meaning. Only then will we move on to deal with the deviation in Guy Debord's film, seeking to answer the questions posed by the film.
publishDate 2024
dc.date.accessioned.fl_str_mv 2024-07-16T17:50:54Z
dc.date.available.fl_str_mv 2024-07-16T17:50:54Z
dc.date.issued.fl_str_mv 2024
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/masterThesis
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status_str publishedVersion
dc.identifier.citation.fl_str_mv MOTA, César Carlos. O desvio no cinema de Guy Debord. 2024. 170 f. Dissertação (Mestrado em Comunicação) – Universidade Federal do Ceará, Fortaleza, 2024.
dc.identifier.uri.fl_str_mv http://repositorio.ufc.br/handle/riufc/77284
identifier_str_mv MOTA, César Carlos. O desvio no cinema de Guy Debord. 2024. 170 f. Dissertação (Mestrado em Comunicação) – Universidade Federal do Ceará, Fortaleza, 2024.
url http://repositorio.ufc.br/handle/riufc/77284
dc.language.iso.fl_str_mv por
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dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
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dc.source.none.fl_str_mv reponame:Repositório Institucional da Universidade Federal do Ceará (UFC)
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instname_str Universidade Federal do Ceará (UFC)
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institution UFC
reponame_str Repositório Institucional da Universidade Federal do Ceará (UFC)
collection Repositório Institucional da Universidade Federal do Ceará (UFC)
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