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Cinema relacional : cinema como diálogo em uma "Triologia do Encontro"
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The thesis intends to make a reading for the cinema of Nicolas Bourriaud's relational aesthetics and to observe how the process, understood here as an event, can produce cinema, taking into account the absence of materiality that relational theory proposes. The intention is to understand what belongs to the cinema and what belongs to the film, making a distinction between the two dimensions and, above all, trying to understand the process through which the cinema passes until it becomes a film, and the role of the director and other actors in this relational scenario. It studies the dialogues, the quality of the meetings, the nature of the relations of domination between the actors and also the relationship between the images that are inscribed in the film and those that remain outside the representation. It also tries to think about the relationships that are held in the construction of the film from the ideas of action and reaction, active force and reactive force. In an attempt to reflect on the transformation of cinema and film, he discusses the role of memory, the creation of archives and editing as decisionmaking elements that imply political and affective choices. The thesis is theoretical-practical and integrates three films – “Dream Machine”, “Halfways” and “How do you Say it in Words?” – which make up the "Trilogy of Encounter". It is from and around the questions motivated by artistic practice that the text is organized. The text also aims to clarify the methodology and choices present in the making of these films.
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Arte relacional Cinema Filme Hierarquia Encontros Memória