Emancipar O Espectador
Distâncias E Intervalos No Cinema De Michael Haneke
Bibliographic Data
| ID | 5813312 |
|---|---|
| Authors | Luiz Baez (0000-0001-6048-6733, Pontifícia Universidade Católica do Rio de Janeiro, corresponding author), LUIZ SEVERIANO RIBEIRO DE PAULA BAEZ |
| Year | 2020 |
| Publication date | 2020-04-28 |
| Open Access | No |
| Type | THESIS |
| Publisher | Faculdades Catolicas (PUBLISHER) |
| DOI | 10.17771/pucrio.acad.51980 |
| OpenAlex | W4240158044 |
| Language | EN |
| References cited | 1 |
From May 68 on, the intellectual figure of emancipation takes over French philosophy: while Jacques Rancière bets on the radical hypothesis of the equality of intelligences, Alain Badiou develops the theory of the event.In unison, both are concerned with processes of subjectivation, amongst which Badiou highlights four types: amorous, scientific, political and artistic.In this last scope, the rancièrian aesthetic regime and the badiousian inaesthetics offer a theoretical approach to reformulate the categories within which artin generaland cinemain particular are perceived.In the common understanding of contemporary art of relations, this work links the authors, intending to analyze the work of Austrian director Michael Haneke.Splitting his movies into thematic blocksbetween cinema and love, between cinema and science, between cinema and politics and between cinema and other arts -, the investigation lies on the distances and intervals within which ideas pass and spectators form themselves as egalitarian subjects
Aesthetics · Art · Art history · Emancipation · Epistemology · Movie theater · Political science · Politics · Sociology · The arts · Visual arts · Brazilian cultural history and politics · Cultural, Media, and Literary Studies · Law · Philosophy
| Highly cited | No |
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