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Violência Escopofílica e a apreciação Estética no Cinema
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A presente dissertação parte do estudo da representação da violência na imagem cinematográfica, compreendida pela perspectiva do espectador. Ao refletir acerca de conceitos como a escopofilia e o prazer estético, a investigação busca compreender de que forma as pulsões do olhar podem ser exploradas a favor da contemplação da violência representada, assim como discutir quais ferramentas de linguagem cinematográfica contribuem para este exercício. Partindo da hipótese central de que a escopofilia e a linguagem podem ser usadas a favor da contemplação estética da violência, este trabalho propõe-se a desenvolver uma análise fílmica da obra Marighella (2021), de Wagner Moura, a fim de ilustrar a problemática levantada. Chamo de “violência escopofílica”, neste sentido, o ato de representar a violência, pressupondo que o realizador possui um dever moral para com a escolha da composição imagética. Ao assumir que a escopofilia possui um poder cognitivo de construção de subjetividade e a sétima arte possui camadas imersivas, proponho o pensamento de que a experiência visual da violência torna-se, também, uma experimentação sensorial.
This dissertation starts from the study of the representation of violence in the cinematographic imagery, understood from the spectator's perspective. By reflecting on concepts such as scopophilia and aesthetic appreciation, the investigation aims to understand how the impulses of the gaze can be explored in order to increase the contemplation of the imagetic violence, as well as depict which cinematographic language tools contribute to this exercise. Starting from the main hypothesis that scopophilia and cinematic language can be used in favor of the aesthetic contemplation of violence, this work aims to develop a filmic analysis of the work Marighella (2021), by Wagner Moura, to be able to illustrate the raised issue. In this sense, I call “scopophilic violence” the act of representing violence, assuming that the director has a moral duty on selecting the imagery composition. By assuming that scopophilia has a cognitive power to construct subjectivity, and the cinema has immersive capabilities, I propose the thought that the visual experience of violence also becomes a sensory experiment.
This dissertation starts from the study of the representation of violence in the cinematographic imagery, understood from the spectator's perspective. By reflecting on concepts such as scopophilia and aesthetic appreciation, the investigation aims to understand how the impulses of the gaze can be explored in order to increase the contemplation of the imagetic violence, as well as depict which cinematographic language tools contribute to this exercise. Starting from the main hypothesis that scopophilia and cinematic language can be used in favor of the aesthetic contemplation of violence, this work aims to develop a filmic analysis of the work Marighella (2021), by Wagner Moura, to be able to illustrate the raised issue. In this sense, I call “scopophilic violence” the act of representing violence, assuming that the director has a moral duty on selecting the imagery composition. By assuming that scopophilia has a cognitive power to construct subjectivity, and the cinema has immersive capabilities, I propose the thought that the visual experience of violence also becomes a sensory experiment.
Descrição
Palavras-chave
Escopofilia Violência Apreciação estética Espectador Scopophilia Violence Aesthetic appreciation Spectatorship