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“the woman (…) suddenly blinks. Yet this is a peculiar sense of “suddenly” (…) an unexpected
and radical shift in the ontological status of the image and our relation to it (…) everything
radically changes (…) The space between the camera’s (and the spectator’s) gaze and the
woman becomes suddenly habitable, informed with the real possibility of bodily movement
and engagement, informed with lived temporality rather than eternal timelessness. (…) is not
merely an immortalized lost object of desire but also—and more so—a mortal and desiring
subject. (…)we might think of photography as primarily a form of mummification (….)
Although it testifies to and preserves a sense of the world’s and experience’s once-real
presence, it does not preserve their present.
The photographic neither functions—like the cinematic—as a “coming-into- being” (a
presence always presently constituting itself), nor—like the electronic—as “being-in-itself ”
(an absolute presence in the present). Rather, it functions to fix a “being-that-has been” (a
presence in a present that is always past). Thus, and paradoxically, as it materializes,
objectifies, and preserves in its acts of possession, the photographic has something to do with
loss, with pastness, and with death (…) What La Jetée allegorizes in its explicit narrative,
however, is the transformation of the moment to momentum that constitutes the ontology
of the cinematic and the latent background of every film. (…)the cinematic thickens the thin
abstracted space of the photograph into a concrete and habitable world. We might remember
here the sudden animated blinking of a woman’s eyes in La Jetée and how this visible motion
transformed the photographic into the cinematic, the flat surface of a possessed picture into
the lived space and active possibility of a lover’s bedroom (…)
the cinematic exists as an objective and visible performance of the perceptive and expressive
structure of subjective lived-body experience.
” Vivian Sobschak, The Scene of the ScreenI, 2016
4. Explica, por palavas tuas, de que modo é que o filme La Jeteé, espelha, segundo Sobschak,
o cinemático e em que consiste.