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O gesto de mostrar em Abbas Kiarostami. Analise a partir de Wittgenstein e Agamben
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O ensaio Notes on gesture, de Giorgio Agamben, é considerado o gestural turn da teoria do cinema, ao propor o cinema enquanto gesto a partir da sua análise em relação com a linguagem e o movimento. À luz da ideia do autor de que a comunicabilidade do e pelo cinema radica no gesto, bem como no que o gesto necessariamente deixa ver ou esconde, propomos explorar o limite do paradigma agambiano a partir do conceito de gesto de
mostrar, desdobrando a relação entre o real, o filmado e o espectador na obra de Abbas Kiarostami. Com vista a defender o cinema enquanto gesto de mostrar, que ultrapassa a natureza representativa do meio cinematográfico, a relação entre os dois conceitos, gesto e mostrar, foi estabelecida pela leitura e análise das teses sobre o cinema e a linguagem de Agamben, assim como das duas obras principais da primeira fase da filosofia de Ludwig Wittgenstein, o Tratactus Logico-Philosophicus e a Conferência sobre Ética. A relação entre a linguagem e o gesto, mas também a ética e a estética, enquanto objecto central desta dissertação, culmina na aproximação, outrora perspectivada por Gilles Deleuze (2015: 438), entre filosofia e cinema sob a égide da hipótese do cinema enquanto gesto de mostrar, pois “o cinema nada pode fazer além de nos mostrar o mundo
como olhar.” (Comolli, 2008: 82). Para o empreendimento analítico em causa a questão sobre como pode o cinema permitir que o real se mostre a si mesmo, com que o real “inexprimível” se mostre é essencial para a determinação das condições que permitem situar a obra de Kiarostami também no campo da reflexão ética. Na análise dos elementos estético-formais mais expressivos de um conjunto de filmes de Kiarostami realizados na
década de 1990 – Onde fica a casa do meu amigo?; E a vida continua; Através das oliveiras; Close-up; e O sabor da cereja – o real figura-se na constituição de um regime de mostração enquanto movimento de poetização e re-encantação éticas, e não apenas estéticas, do mundo.
Giorgio Agamben's essay Notes on Gesture is credited with initiating the gestural turn in film theory. Through the analysis of cinema's relationship to language and movement, the essay proposes that cinema should be understood as a form of gestural expression. Building on the author's notion that communication in cinema relies on gesture, as well as on what gesture necessarily shows and/or hides, we propose to explore the limits of Agamben's paradigm from the concept of the gesture of showing, unfolding the relationship between the real, the filmed and the spectator in the work of Abbas Kiarostami. To justify cinema as a gesture of showing that goes beyond the representational nature of the cinematographic medium, the relationship between the two concepts, gesture and showing, is established by reading and analyzing not only Agamben's theses on cinema and language, but also the two main works of the first phase of Ludwig Wittgenstein's philosophy, the Tratactus Logico-Philosophicus and the Conference on Ethics. The relationship between language and gesture, but also between ethics and aesthetics, as the central object of this dissertation, culminates in the rapprochement, once envisioned by Gilles Deleuze (2015: 438), between philosophy and cinema, under the aegis of the hypothesis of cinema as a gesture of showing. In order to determine the conditions under which Kiarostami's work can also be placed in the field of ethical reflection, the question of how cinema can allow the real to show itself, how the "inexpressible" real can show itself is essential for this analytical endeavor. By analyzing the aesthetic and formal elements of several of Kiarostami's films from the 1990s - including Where is my friend's house?, And life goes on..., Through the olive trees, Closeup, and Taste of cherry - a regime of showing is presented as a movement toward the poeticization and ethical re-enchantment of the world, in addition to purely aesthetic ends.
Giorgio Agamben's essay Notes on Gesture is credited with initiating the gestural turn in film theory. Through the analysis of cinema's relationship to language and movement, the essay proposes that cinema should be understood as a form of gestural expression. Building on the author's notion that communication in cinema relies on gesture, as well as on what gesture necessarily shows and/or hides, we propose to explore the limits of Agamben's paradigm from the concept of the gesture of showing, unfolding the relationship between the real, the filmed and the spectator in the work of Abbas Kiarostami. To justify cinema as a gesture of showing that goes beyond the representational nature of the cinematographic medium, the relationship between the two concepts, gesture and showing, is established by reading and analyzing not only Agamben's theses on cinema and language, but also the two main works of the first phase of Ludwig Wittgenstein's philosophy, the Tratactus Logico-Philosophicus and the Conference on Ethics. The relationship between language and gesture, but also between ethics and aesthetics, as the central object of this dissertation, culminates in the rapprochement, once envisioned by Gilles Deleuze (2015: 438), between philosophy and cinema, under the aegis of the hypothesis of cinema as a gesture of showing. In order to determine the conditions under which Kiarostami's work can also be placed in the field of ethical reflection, the question of how cinema can allow the real to show itself, how the "inexpressible" real can show itself is essential for this analytical endeavor. By analyzing the aesthetic and formal elements of several of Kiarostami's films from the 1990s - including Where is my friend's house?, And life goes on..., Through the olive trees, Closeup, and Taste of cherry - a regime of showing is presented as a movement toward the poeticization and ethical re-enchantment of the world, in addition to purely aesthetic ends.
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Gesto Mostrar Olhar Ocultar Linguagem Cinema Ética Estética Wittgenstein Agamben Kiarostami Gesture Show Look Hide Language Cinema Ethics Aesthetics