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Advisor(s)
Abstract(s)
A presente investigação assume como objetivo a compreensão do fenómeno do olhar direto para a câmara e as implicações deste nas relações existentes na tríade realizador, personagens e espectador de um filme. Foram estudadas as formas como o olhar possibilita o estabelecimento de relações assimétricas, baseadas num sistema de dominação e submissão, e de que forma é possível a reversão deste processo.
Através da análise concluiu-se que o olhar voyeurístico dos espectadores, característico do cinema imersivo, pode ser considerado como instrumento de dominação sobre as personagens de um filme. Existe, no entanto, uma forma de criar uma estratégia de resistência a um olhar dominador: através da retribuição ocular, característica do gesto interpelativo no cinema. Foram escolhidos filmes de Jean-Luc Godard para a análise e interpretação do fenómeno, dado que a ocorrência do olhar direto para a câmara é neles bastante vincada e numerosa.
This dissertation sets out to comprehend the phenomenon of the direct gaze at the camera in film and its implications in the existing relations between the triad comprising the director, the characters and spectator. This study focuses on the ways in which the gaze enables the establishment of asymmetric relations based on a system of domination and submission, and the possible ways through which this process can be reversed. Through this analysis it was concluded that the voyeuristic gaze of the spectator, characteristic to immersive cinema, can be considered an instrument of domination over the characters in a film. There is, however, a way of creating a strategy of resistance to a dominating gaze: and that is through ocular retribution, a feature of the interpellative gesture in cinema. Given that the occurrence of the direct gaze at the camera is quite prominent and numerous in his work, Jean-Luc Godard’s films were chosen for the analysis and interpretation of this phenomenon.
This dissertation sets out to comprehend the phenomenon of the direct gaze at the camera in film and its implications in the existing relations between the triad comprising the director, the characters and spectator. This study focuses on the ways in which the gaze enables the establishment of asymmetric relations based on a system of domination and submission, and the possible ways through which this process can be reversed. Through this analysis it was concluded that the voyeuristic gaze of the spectator, characteristic to immersive cinema, can be considered an instrument of domination over the characters in a film. There is, however, a way of creating a strategy of resistance to a dominating gaze: and that is through ocular retribution, a feature of the interpellative gesture in cinema. Given that the occurrence of the direct gaze at the camera is quite prominent and numerous in his work, Jean-Luc Godard’s films were chosen for the analysis and interpretation of this phenomenon.
Description
Keywords
Olhar Interpelação Dominação Resistência Gaze Cinema Interpellation Domination Resistance