Rastros do invisível no plano cinematográfico

Abstract

In this thesis I explore the tracks of the invisible in the perception and memory of film spectators. The invention of the invisible creates a tension mainly with the concepts of “track” and “dialectical image” proposed by Benjamin and of “duration” of Bergson. I dissect frames and scenes of the film. The Eclipse (1962) by Michelangelo Antonioni based on the proposal of the following concepts: absent eyes, (re-framings, blind points and rotations. Imagined as a constellation of images, these concepts are operational for tracking forms of presence of the invisible in film editing. I propose a methodology of the invisible for analyzing the corpus, understanding that upon perceiving images framed and edited by the film-maker, spectators overlap them with “invisible images” from their cultural and technical memories or repertoires, which deconstruct and transform the image seen in the present of the exhibition of the film.