Corpo, intimidade e transgressão no cinema sensual contemporâneo
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Data
2020-11-26
Autores
Galhardo, Vitória Garcia
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Essa pesquisa se propõe explorar e refletir sobre a figura do corpo nas visualidades do cinema contemporâneo, assim como investigar como a estética do cinema sensual proporciona novas configurações do corpo na cultura visual. A exploração expõe nuances teóricas dos estudos epistemológicos do corpo no âmbito do cinema e manifesta as correntes estéticas que promovem uma dimensão do córpus como potencialidade sensível na experiência fílmica. Primeiramente, discutimos as principais noções dos estudos do cinema sensual e das correntes similares que expressam o corpo como conteúdo principal do filme. Dessa forma, apresentamos as principais noções do corpo como potência da sensação através da estética cinematográfica e de sua apresentação em situações transgressoras. Através das principais características da imagem corpórea, pensamos a linguagem cinematográfica em intersecção com os estudos filosóficos da transgressão e da expressão autônoma, e, de acordo com a exposição inicial, propomos a exploração de elementos estéticos que são responsáveis por configurar o corpo em sua expressão íntima e transgressiva. A partir da exploração teórica dos conceitos de close-up do corpo, da voz do personagem e a encenação transgressora apresentamos nossa investigação por meio de dois longas-metragens. Elencamos os filmes Não me Toque (2018), de Adina Pintilie, e Um vazio em meu coração (2004), de Lukas Moodysson, para discutir as questões estéticas e discursivas do corpo através de três sequências destacadas como meio de expor as configurações corpóreas. Esses filmes empregam as imagens do corpo como elemento principal do contexto narrativo e expõe realidades subjetivas, íntimas e explícitas da vida humana. Durante a análise investigamos como os elementos visuais e sonoro criam uma intersecção com as imagens do corpo proporcionando uma força material, onde o corpo passa ser o principal elemento dos filmes. Para isso, elencamos um método alternativo entre as teorias de Martine Beugnet (2007) e Laura Marks (2000), fruindo alguns dos elementos abordados em seus estudos para expor os filmes do nosso córpus que constituem uma estética heterogênea e mescla elementos de gênero entre o cinema dramático, documental e experimental. Através dos elementos estéticos temos a possibilidade de expor os aspectos figurativos e discursivos do corpo dentro da lógica de nossa exploração. Em entendimento com os elementos estéticos e a abordagem discursiva do corpo podemos comprovar e refletir a respeito da possibilidade de um cinema afetivo e autônomo que usa do corpo como um elemento primordial para proporcionar as mais variadas sensações no espectador. Assim como apresentar corpos íntimos e transgressores em uma configuração plural e expressar o cinema contemporâneo como um espaço de novas experimentações onde as tensões éticas, íntimas e políticas, transpassam às imagens corpóreas.
This research proposes to explore and reflect the figure of the body in contemporary cinema visualities, as well as to investigate how the aesthetics of sensual cinema provides new configurations of the body in visual culture. The exploration exposes theoretical nuances of the epistemological studies of the body in the context of cinema and manifests the aesthetic currents that promote a dimension of the corpus as a sensitive potentiality in the film experience. First, we discuss the main notions of the studies of sensual cinema and similar currents that express the body as the main content of the film. Thus, we present the main notions of the body as a power of sensation through cinematic aesthetics and its presentation in transgressive and abject situations. Through the main characteristics of the corporeal image, we think the cinematographic language in intersection with the philosophical studies of transgression and autonomous expression, and according to the initial exhibition we propose the exploration of aesthetic elements that are responsible for configuring the body in its intimate and transgressor. From the theoretical exploration of the concepts of close-up of the body, the character's voice and the transgressive staging we present our investigation through two feature films. We list the films Touch me not (2018) by Adina Pintilie and A Hole in my heart (2004) by Lukas Moodysson to discuss the aesthetic and discursive issues of the body through three sequences highlighted as a means of exposing the bodily configurations. These films use images of the body as the main element of the narrative context and expose subjective, intimate and explicit realities of human life. During the analysis we investigated how the visual and sound elements create an intersection with the images of the body providing a material force, where the body becomes the main element of the films. For this, we list an alternative method between the theories of Martine Beugnet (2007) and Laura Marks (2000), listing some of the elements approached in their studies to expose the films of our corpus that constitute a heterogeneous aesthetic and mix elements of cinematographic genres between dramatic, documentary and experimental cinema. Through the aesthetic elements we have a possibility to expose the figurative and discursive aspects of the body within the logic of our exploration. In agreement with the aesthetic elements and the discursive approach of the body, we can verify and reflect on the possibility of an affective and autonomous cinema that uses the body as a primary element to provide the most varied spectator experience. As well as presenting intimate and transgressive bodies in a plural configuration and expressing contemporary cinema as a space for new experiments where ethical, intimate and political tensions, wich permeate bodily images.
This research proposes to explore and reflect the figure of the body in contemporary cinema visualities, as well as to investigate how the aesthetics of sensual cinema provides new configurations of the body in visual culture. The exploration exposes theoretical nuances of the epistemological studies of the body in the context of cinema and manifests the aesthetic currents that promote a dimension of the corpus as a sensitive potentiality in the film experience. First, we discuss the main notions of the studies of sensual cinema and similar currents that express the body as the main content of the film. Thus, we present the main notions of the body as a power of sensation through cinematic aesthetics and its presentation in transgressive and abject situations. Through the main characteristics of the corporeal image, we think the cinematographic language in intersection with the philosophical studies of transgression and autonomous expression, and according to the initial exhibition we propose the exploration of aesthetic elements that are responsible for configuring the body in its intimate and transgressor. From the theoretical exploration of the concepts of close-up of the body, the character's voice and the transgressive staging we present our investigation through two feature films. We list the films Touch me not (2018) by Adina Pintilie and A Hole in my heart (2004) by Lukas Moodysson to discuss the aesthetic and discursive issues of the body through three sequences highlighted as a means of exposing the bodily configurations. These films use images of the body as the main element of the narrative context and expose subjective, intimate and explicit realities of human life. During the analysis we investigated how the visual and sound elements create an intersection with the images of the body providing a material force, where the body becomes the main element of the films. For this, we list an alternative method between the theories of Martine Beugnet (2007) and Laura Marks (2000), listing some of the elements approached in their studies to expose the films of our corpus that constitute a heterogeneous aesthetic and mix elements of cinematographic genres between dramatic, documentary and experimental cinema. Through the aesthetic elements we have a possibility to expose the figurative and discursive aspects of the body within the logic of our exploration. In agreement with the aesthetic elements and the discursive approach of the body, we can verify and reflect on the possibility of an affective and autonomous cinema that uses the body as a primary element to provide the most varied spectator experience. As well as presenting intimate and transgressive bodies in a plural configuration and expressing contemporary cinema as a space for new experiments where ethical, intimate and political tensions, wich permeate bodily images.
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Palavras-chave
Cinema contemporâneo, Corpo, Estética cinematográfica, Intimidade, Transgressão, Contemporary cinema, Body, Cinematic aesthetics, Intimacy, Transgression