Violência da estética cinematográfica: inquietações do olhar

Abstract

The connection between psychoanalysis and cinema has been addressed throughout this thesis, focusing on the aesthetics of violence and a way to address films. Printing motion on the big screen, i.e. the film, in an unprecedented way, emerged as such an artistic mode of expression that, at the gates of the twentieth century, brought new paradigms regarding the subject's relation to the image. The role of the look, besides promoting a subjective decentralisation, has revealed to Freud that the ego loses control over his own home, intervening all the time in the relationship, forever drawn, between the subject and the image of their body. The psychoanalytic clinic summons the individual to talk about this strange experience which dominates the field of the image, about the discontent which is there, showing their traumatic size and attesting the signifier force of the image. According to Lacan, it is possible, with art, to touch or approach the real, and the function of beauty is to delimit the horror of this proximity. Cinema is constituted as a particular form of this proximity that falls beyond the visible in the photographic sequences, and that articulates itself in the temporal interstices that delimitates them. Bringing into play, with the cinema, the moving image, allows one to place the subject and the creative violent act at the center of the discussion, as an act of destruction that engenders the new. Throughout this thesis, the cinema of Michael Haneke was privileged in the constructions and elaborations that unfold themselves, focusing on his proposal to explore violence in films and in the media, through themes such as hatred, cruelty, perversion, intolerance and love