A desimagem no cinema: uma imagética de sentidos que perdura na superexposição

Abstract

In this work is a theoretical deepening on the image of overexposure in cinema over a prism of the intuitive method. With analysis of 48 films, of which 18 composed final sampling, it begins methodologically the flanerie in motion of framing the empirical object in the films (BENJAMIN, 2009). With the empirical pautable opened, the technical image of film overexposure, provided cartography and dissections are performed in the different films. From the findings in the dissection, a mapping of incidences of overexposure images was proposed, analyzed and organized according to their coalescing senses were understood. Distinguishing from mere mismeasures, procedures for identifying and confirming the incidences of significant overexposure in the images were developed and put to the test, resulting in constant tensioning of the concept of deimaging. The image of overexposure is initially framed by an Identity Triad, which are tecnometological procedures developed especially in research. The materiality of these occurrences was evidence of image and presented themselves in a dimension of existence of this concept, deimage, as that of imagery that seeks its nullity, on the technical path of full overexposure. The research works with the concept of the technical image of overexposure end up affirming its imagery eloquence, allowing itself to last in the senses and be signable. The constructs then seized were arranged by relative constellations of likelihood and physical logic, non-realistic and dreamlike constructs, constructs of narrative and assembly logic, and within this assembly dialectic plus a grouping by ellipse eloquence.