A Zona Oeste afetiva e singular: o cinema relacional como imaginação radical e imagem técnica

Abstract

Based on the experiences of audiovisual production in Rio de Janeiro, in recent decades, at the beginning of the 21st century, cinema is investigated in the West Zone as a scenario and circuit of production of cultural and artistic goods/services, a relational cinema, as contemporary propositions. Signs, systems of meanings and processes with cinema are located as a device and a circuit of sensitive, sensory and subtle perceptions that broaden the field between life, cinema and contemporary art. The works, the filmmakers and the processes are highlighted as a way of elaboration of a place of performance and production between affections and singularities. The intention is to show cinema as a power for encounters and proposals of perceptions with aesthetic, critical, expressive, expansive energies that stimulate the sensory thinker (BASBAUM, 2013) in us, by exchanges of affective and sensory energies. Works and authors as a force of expression, which elaborate relationships of visualities and sounds, form imaginaries and present subjectivities. It seeks to understand the action of signs and intersections, such as plastic, theoretical and historical data of the “Affective and Singular West Zone”. A relational cinema composed of interconnected actions of subjects who seek to resist economic difficulties and the centralized market from an imagination and positions. Creators of critical and cultural debate circles such as self-formation and training in operations of understanding the visible and the invisible that channel the way of organizing and structuring the world of senses and the contact we have with it. Cinema as a living stream of generation of strategic configurations, in processes of significance and meanings of a relational cinema observed between encounters and passages; it is investigated on how to do or be in the construction of imaginaries. Cinemão and CURTA ETESC stand out as a proposal for the production of deviation, such as surrounding landscapes and technical image, mediation and sensitive and subjective intervention. Part of the signification system; field and counterfield in film projects, which feed the radical imagination, as it was proposed by Castoriadis; invitations to sharing as social and historical aspects