| Full text | |
| Author(s): |
Rovai, Mauro Luiz
Total Authors: 1
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| Document type: | Journal article |
| Source: | SOCIAL SCIENCES-BASEL; v. 13, n. 1, p. 9-pg., 2024-01-01. |
| Abstract | |
This paper aims to analyze the movie The War Is Over (La guerre est finie-France/Sweden, 1966, directed by Alain Resnais and a screenplay by Jorge Semprun). The idea is to point out a possible sociological discussion on exile, mobilizing the notion of mental images. The methodological approach is an internal analysis of the film to allow for the elaboration of sociological considerations along with the expressive elements of the film construction. To do so, we shall focus on the "leaps" within the movie's narrative order, in which a main character (Diego) anticipates, through imagination, a series of sequences and events that might or might not have occurred. To discuss the notion of mental images and their relationship with the imaginary, the theoretical reference will be Cornelius Castoriadis' book The Imaginary Institution of Society. This article will benefit from the discussions in the presentations about the film both at meetings in Brazil and at the last ISA Congress 2023 (International Sociological Association-Research Committee 37-Sociology of Arts). This text is one of the results of research supported by the Sao Paulo Research Foundation (FAPESP). (AU) | |
| FAPESP's process: | 22/14494-4 - Dreams of war and peace in España heroica: studies on Sociology and cinema |
| Grantee: | Mauro Luiz Rovai |
| Support Opportunities: | Regular Research Grants |
| FAPESP's process: | 14/07786-2 - The becoming inhuman of human. a sociology of "non-actual" in Alain Resnais's work |
| Grantee: | Mauro Luiz Rovai |
| Support Opportunities: | Scholarships abroad - Research |