In a search for "zero degree in the look" - possible close approaches between cinematographic work from Alain Robbe-Grillet and its SUI generis theory from Roland Barthes image

• Grant number: 14/03385-3
• Support Opportunities: Scholarships in Brazil - Post-Doctoral
• Start date: October 01, 2014
• End date: May 17, 2015
• Field of knowledge: Linguistics, Literature and Arts - Arts - Cinema
• Agreement: Coordination of Improvement of Higher Education Personnel (CAPES)
• Principal Investigator: Francisco Elinaldo Teixeira
• Grantee: José Rodrigo Paulino Fontanari
• Host Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil

Abstract

The present research project deals with filmography releases from Alain Robbe-Grillet, aiming in understanding in light of the barthesian concept in its third sense, also known as obtuse narrow focus, formulated in 1970, pages written in Cahiers du cinema, in an essay called: "The third sense. Research notes on some of the frames from S.M Eisentein". This concept refers to a language utopia, a state of "a-language", where the blockage seems to be abolished from every wish and need to increase and to unfold: it's a fulfilled sign where language is suspended and abolishes meaning. Right from image planning in cinema aspects, its correspondents would be rightly those moments in which the camera can only refer to objects, not allowing the scene to evolve to melodrama - requiring more associated objects, fulfilled with meaning. The very start is the hypothesis that cinema work from Alain Robbe-Grillet is constituted in a nouveau cinema aspect being then enabled to be comprehended in the light of formulated concepts by Roland Barthes to Nouveau Roman. Methodologically speaking, we are based in a bibliography research of large spectrum, involving studies not only around novel and cinema revolutions, but also critics around and to the mid-20th century. Aiming in interpreting and understanding cinema images from Robbe-Grillet, theoretical assumptions based on Roland Barthes were reasoned in "sui generis" thought around technical images. The research corpus entails the entire Robbe-Grillet filmography, in an arc of happenings getting started in L'année dernière à Marienbad (1961) all the way up to C'est Gradiva qui vous appelle (2006). It is then added the written work from Robbe-Grillet by which the first essays on Barthes were seen and the same critical ones that are targeted towards it. We firmly believe on this work relevance and its contribution towards connections among image, verb, continuous actions, literature and cinema. It´s worth mentioning concepts here explored in a final objective focused on Barthes work, studied even more each day. (AU)