The outrageousness of the image: for a concept of community through cinema

• Grant number: 21/10527-2
• Support Opportunities: Scholarships abroad - Research Internship - Doctorate
• Start date: January 01, 2022
• End date: December 31, 2022
• Field of knowledge: Humanities - Philosophy
• Principal Investigator: Celso Fernando Favaretto
• Grantee: Breno Isaac Benedykt
• Supervisor: Anne Isabelle C. Sauvagnargues
• Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil
• Institution abroad: Université Paris Ouest Nanterre La Défense (Paris 10), France
• Associated to the scholarship: 18/03080-9 - The outrageousness of the image: for a concept of community through cinema, BP.DR

Abstract

The present project stems from the hypotheses that it is possible to forge a philosophical concept from what films produce on our thought. A concept that must, by its turn, be able to shed new light over the present, since the excess of cliché images are a sore point of our time. To do so, this project aims to analyze two blocks of image, each of them composed by three films. In this sense, it shall study how each block operates a singular individuation of the audiovisual experience - each of them able to produce distinct modes of sensible differentiation with the capacity of dynamizing the forces of a minimal community. From the idea that a community is an outrageousness of/in the social, there is an understanding, in this project, that the regime of measureable images belongs to the functioning of the cliché images itself. Therefore, if a community is understood as a counter-effectuation of the cliché images, this project aims to study two blocks of image that resist before the images of the present. The first of them, composed by three films by Pedro Costa - In Vanda's Room, Colossal Youth and Horse Money -, focuses on the analyzes of the singular individuations of bodies and voices, that is, how their dynamism of positions, repetitions and differentiations activates a new type of perception of the common. The second block, composed by three films by Béla Tarr - Satantango, Werckmeister Harmonies and Turin Horse - aims to pursue image as multiplicity, organic and inorganic, of beings-without-particularities, in a way that image can be apprehended as the pathos of an other community. Finally, this project intends to contribute with the field of education with a different way to approach and think the cinematographic image. (AU)