Escenificar las líneas de fuerza: dos dimensiones de perceptos de la imagen en Adiós, Dragon Inn
What is the role of categories such as empty and slowness in contemporary cinema? In Goodbye, Dragon Inn, Tsai Ming-Liang radicalizes the experimentation of elements that point to a negative energy of the image. In this essay, I identify a new status of film image: no longer defined as what organize...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Recursos: | Universidade de São Paulo (USP) |
| Repositorio: | Significação (Online) |
| Idioma: | inglés portugués |
| OAI Identifier: | oai:revistas.usp.br:article/166247 |
| Acesso em linha: | https://www.revistas.usp.br/significacao/article/view/166247 |
| Access Level: | acceso abierto |
| Palavra-chave: | Cinema contemporâneo Tsai Ming-Liang Perceptos Mise en scène Slow cinema Contemporary cinema Percepts |
| Resumo: | What is the role of categories such as empty and slowness in contemporary cinema? In Goodbye, Dragon Inn, Tsai Ming-Liang radicalizes the experimentation of elements that point to a negative energy of the image. In this essay, I identify a new status of film image: no longer defined as what organizes the visible in the form of a field, but as the appearance of the visible as a composition of lines of power. For such, I construct the concepts of molar and molecular percepts, which dialogue with the thought of Deleuze and Guattari. I propose to think of acting as a coordination of the forces in emergence in what is visible, therefore debating with contemporary theorists of cinema. |
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