Full text
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| Author(s): |
Breno Isaac Benedykt
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Educação (FE/SBD) |
| Defense date: | 2016-09-19 |
| Examining board members: |
Cintya Regina Ribeiro;
Celso Fernando Favaretto;
Leon Kossovitch
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| Advisor: | Cintya Regina Ribeiro |
| Abstract | |
This research is grounded in the films of the Hungarian director Béla Tarr, the first of which is Family Nest (1977) and the last is Turin\'s Horse (2011). Through this period, the filmmaker made, among other works, nine feature films, some of which in partnership with the writer László Krasznahorkai. Nevertheless, this research did not deal with their works as separable and/or inseparable units, but as blocs of images in constant contact with a surface of questions regarding the aesthetic experience of thought. By analyzing the films through fragments, continuities, ruptures and discontinuities we were able to draw a relational line between the style of the images and the problem of thought. Regarding the problem of though, this study is anchored to the theses and methodologies developed by Gilles Deleuze and Gilles Deleuze & Félix Guattari. From that, we investigated which audiovisual procedures created on the films could make us think of a radically immanent experience of thought and, therefore, an essentially intensive one. Therefore, this academic work looked for audiovisual creations understood as intensive modes to seize the emergence of this empty space that constitutes the experience of non-subjective thought in other words, time as intensive multiplicity. Therefore, we conceive an analytic view that neither stems from a formal division of film procedures nor from the belief on a possible place of detachment apart from the films or a place that could permit, for instance, a truthful reading on the more or less hidden intentions behind each film. What this research aimed for was to understand how the films of Béla Tarr articulate injunctions and detours of forces that allow us, by affections and affects, to think of them as purely immanent procedures. Moreover, each chapter, based on a determined set of Tarr\'s films, developed a comprehension of the encounters between forces, which, at times, requested transversal readings, coming from thinkers of Philosophy, Literature and Cinema itself, including works on the ouevre of the director. It is in this sense that Béla Tarr\'s cinema appears as a theorem, or a knot, that invites us to an organic dialogue not only with theorists that wrote about his films, but also with other thinkers, such as Friedrich Nietzsche. (AU) | |
| FAPESP's process: | 14/03049-3 - Béla Tarr and the intensive experience of thought: encounters between cinema and education |
| Grantee: | Breno Isaac Benedykt |
| Support Opportunities: | Scholarships in Brazil - Master |