| dc.description.abstract | This study examines how films insinuate and produce effects of presence and absence from the filmic materialities (technology, technique and aesthetics). It is claimed the being of the movies and considered that they have memory and a duration specific to it, highlighting also the work of a double distance that dialectizes and in interrelation with perception, memory and filmic properties that weave presences and absences. It uses for this particular purpose, the Bergson's method of intuition, the cartographic methodology and the "dissection". Authenticates and discusses two constellations that emphasize forms of procedure for whom the films insinuate presence and absence: the constellation of footprints and trace amounts and the constellation of rhythmic movements. Through these constellations we discover the performance modes of filmic image that switches the far and the near, the presence and absence, or yet, visibility and invisibility. The set of films analyzed for this research are: The tree of life, by Terrence Malick, 2011; Biutiful, by Alejandro González Iñárritu, 2010; e 2046, by Wong Kar Wai, 2004. | |
