▼ Taking the uncanny tone of Maurice Merleau-Ponty’s concept of the “flesh of the world” as its point of departure, this thesis bridges film and architecture through a spatial exploration of Andrei Tarkovsky’s film Nostalghia. Based on a poetic depiction of five scenes from Nostalghia, this work considers how incorporating time into the production of space reveals that architecture is not an expression of the debates regarding spatial experience, but an agent of a spatial phenomenon capable of shaping and enhancing the lived experience. In order to consider the relationship between filmic and architectonic space, the scenes are considered within the framework of three categories: (1) space subordinating time, (2) time subordinating space, and (3) space and time as equal factors. The first category depicts how collective and private spatial manifestations affect time through an analysis of the La Madonna del Parto and Domenico house scenes. The second category explains how time affects space through a comparison of the camera eye (kino-eye) to the dissection of space (poché) through an analysis of the Hotel and Pool scenes. In addition, the last category considers how time and space are taken as having equal weight in the poetics of Nostalghia through a series of requiems that appear throughout the film. Finally, this thesis addresses space within film as a portal for the expression of the imaginative constructs that underlie Merleau-Ponty’s work: a portal that touches upon the limits of the visible, the invisible, and the spaces in between. Recognizing the dichotomies present in contemporary phenomenological discourse, this thesis contributes to a deeper exploration of the imaginative constructs that precede and accompany architectural design without the constrictions of form but with time as an agent articulating the possibilities of space. Advisors/Committee Members: Jawaid Haider, Thesis Advisor/Co-Advisor.

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Esta tese concentra-se sobre o silêncio e o modo como ele catalisa atmosferas em um conjunto de filmes específicos, a partir do conceito de Stimmung, revisitado por Hans Ulrich Gumbrecht. O norte de pesquisa estabeleceu-se sobre a seguinte questão: como observar o silêncio e suas possíveis marcas na constituição de atmosferas na filmografia de Andrei Tarkovski? A interrogativa apresentada foi desdobrada em quatro capítulos, objetivando examinar as especificidades do silêncio nos exemplos observados, com vistas a ampliar sua definição para os estudos de cinema. No capítulo ‘O arcabouço teórico’, são apresentadas as proposições de Gumbrecht e as dicotomias pertinentes entre os efeitos de presença e os efeitos de sentido, em diálogo com os estudos das materialidades da comunicação, e o conceito de ‘atmosfera cinematográfica’, cunhado por Inês Gil (2005). Complementa a discussão a observação dos universos sonoros e imagéticos na sala de projeção e suas relações com o espectador. No capítulo ‘Um percurso marcado pelo silêncio’, faz-se o exame das distintas especificidades do silêncio, da linguagem para as artes e de sua multiplicidade na sala escura, através das diferentes experiências vivenciadas pelo público e que puderam ser recuperadas pela bibliografia especializada. Impulsionado por tais questões, chega-se ao termo ‘efeito-silêncio’, dado que as conformações aqui estudadas revelaram-se através da organização das sonoridades que criam uma impressão de silêncio, ou seja, efeitos-silêncio, como se primou por chamar tal configuração. Com as discussões teóricas explicitadas, o capítulo ‘Um ‘leve toque’ de Andrei Tarkovski’ apresenta um investimento sobre a produção cinematográfica do diretor, evidenciando os traços biográficos e o contexto de suas produções que auxiliaram na temática. No capítulo ‘O silêncio atmosférico em Andrei Tarkovski’, são dispostos dois eixos textuais, ‘interioridades’ e ‘exterioridades’, estratégia que auxilia a explicitar as articulações engendradas pelos efeitos-silêncio para a constituição de atmosferas em exemplos extraídos de A infância de Ivan (1962), Andrei Rublev (1966), Solaris (1972), O espelho (1975), Stalker (1979), Nostalgia (1983) e O sacrifício (1986), através de um olhar que admite a oscilação entre os efeitos de presença e a atribuição e a identificação de sentido no contato com os objetos comunicacionais. A discussão é encerrada nas ‘considerações finais’, em que se produz uma reflexão sobre as facetas do silêncio no âmbito cinematográfico e seu espaço no interior da filmografia de Andrei Tarkovski, a partir das questões ofertadas pela pesquisa.

The present dissertation is focused on silence and the way it mobilizes atmospheres in a specific set of films, from the concept of Stimmung¸ revisited by Hans Ulrich Gumbrecht. The research was constructed upon the following question: how to observe silence and its possible imprints in the composition of atmospheres in Andrei Tarkovski’s filmography? The presented interrogative unfolded in four chapters aiming to examine silence’s…

Advisors/Committee Members: Rossini, Miriam de Souza.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Based on an esthetical-political analysis of the film Solaris, and an investigation on the personal and artistic life of Andrei Tarkovsky, within a historical and political context situated in the Soviet Union from the 1960s through the 1990s, it s proposed in this research to emphasize the shock between this artist and the Soviet State, with the purpose to demonstrate a political presence in Tarkovsky s work. Tarkovsky s own writings, the philosophical and esthetical concepts of Gilles Deleuze, the political notions of political presence of the work and esthetization of politics, written by Professor Miguel Chaia, give support to the foundations of this dissertation, making it possible to create: a discussion about Tarkovsky s conceptions of art and cinema; an analytical cut of the film Solaris, showing the esthetical, political, historical problems involved in this work; an overview of the Soviet cinematographic industry, debating the relationship between the artist Tarkovsky and the authoritarian bureaucracy of the Soviet State, as well as the effects of this as a political act of resistance made by the filmmaker through his filmography

A partir de uma análise estético-política do filme Solaris, e de uma investigação sobre a vida pessoal e artística de Andrei Tarkovsky, dentro de um contexto histórico-político situado na União Soviética dos anos 1960 até a década de 1990, propõe-se, nesta pesquisa, destacar o embate entre esse artista e o Estado soviético, com o objetivo de demonstrar uma presença política da obra de Tarkovsky. Os escritos do próprio Tarkovsky, os conceitos filosóficos e estéticos de Gilles Deleuze, as noções políticas de presença política da obra e estetização da política, trazidas pelo Prof. Miguel Chaia, dão embasamento para a fundamentação deste trabalho, possibilitando: uma discussão sobre as concepções de arte e cinema do artista Tarkovsky; um recorte analítico do filme Solaris, mostrando as questões estéticas, políticas, históricas envolvidas na obra; um panorama da indústria cinematográfica soviética, problematizando a relação entre o artista Tarkovsky e a burocracia autoritária do Estado soviético, assim como os efeitos disso enquanto ato político de resistência por parte do cineasta através de sua filmografia

Advisors/Committee Members: Segurado, Rosemary.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Based on an esthetical-political analysis of the film Solaris, and an investigation on the personal and artistic life of Andrei Tarkovsky, within a historical and political context situated in the Soviet Union from the 1960s through the 1990s, it s proposed in this research to emphasize the shock between this artist and the Soviet State, with the purpose to demonstrate a political presence in Tarkovsky s work. Tarkovsky s own writings, the philosophical and esthetical concepts of Gilles Deleuze, the political notions of political presence of the work and esthetization of politics, written by Professor Miguel Chaia, give support to the foundations of this dissertation, making it possible to create: a discussion about Tarkovsky s conceptions of art and cinema; an analytical cut of the film Solaris, showing the esthetical, political, historical problems involved in this work; an overview of the Soviet cinematographic industry, debating the relationship between the artist Tarkovsky and the authoritarian bureaucracy of the Soviet State, as well as the effects of this as a political act of resistance made by the filmmaker through his filmography

A partir de uma análise estético-política do filme Solaris, e de uma investigação sobre a vida pessoal e artística de Andrei Tarkovsky, dentro de um contexto histórico-político situado na União Soviética dos anos 1960 até a década de 1990, propõe-se, nesta pesquisa, destacar o embate entre esse artista e o Estado soviético, com o objetivo de demonstrar uma presença política da obra de Tarkovsky. Os escritos do próprio Tarkovsky, os conceitos filosóficos e estéticos de Gilles Deleuze, as noções políticas de presença política da obra e estetização da política, trazidas pelo Prof. Miguel Chaia, dão embasamento para a fundamentação deste trabalho, possibilitando: uma discussão sobre as concepções de arte e cinema do artista Tarkovsky; um recorte analítico do filme Solaris, mostrando as questões estéticas, políticas, históricas envolvidas na obra; um panorama da indústria cinematográfica soviética, problematizando a relação entre o artista Tarkovsky e a burocracia autoritária do Estado soviético, assim como os efeitos disso enquanto ato político de resistência por parte do cineasta através de sua filmografia

Advisors/Committee Members: Segurado, Rosemary.

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Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Esta tese de Doutoramento em Belas-Artes, especialidade de Pintura, consiste na articulação de uma investigação em duas partes, uma de índole prática e outra teórica. A primeira, relativa à concepção de um corpo de trabalho pictórico inédito, corporiza-se na execução de um conjunto de pinturas, intituladas Vox e Dei, e na idealização de um dispositivo espacial concebido para as receber, intitulado Foi a Luz. As questões de fundo do processo criativo deste trabalho motivam a investigação teórica, desenvolvida em simultâneo. Esta incide sobre a relação entre espiritualidade e arte no contexto cultural ocidental (de matriz judaico-cristã), e sobre a ideia da progressiva autonomização da arte (principalmente desde o século XIX até à actualidade), apresentando-se como realidade espiritual alternativa ao universo religioso. Para tal, abordou-se a forma como três autores - Rui Chafes, Mark Rothko e Andrei Tarkovsky - se incluem perfeitamente dentro dos parâmetros da espiritualidade analisados e que, inclusive, através das suas obras, acrescentam algo à dimensão secular contemporânea de ver e conceber Deus. Ao eleger estes autores, e ao falar deles e da sua obra de forma objectiva, no interior das suas áreas artísticas específicas (nomeadamente da escultura, da pintura e do cinema), consolidaram-se as ferramentas teóricas e discursivas necessárias para analisar em profundidade os resultados pictóricos obtidos na investigação prática.

This dissertation thesis for the PhD in Fine-Arts, speciality in Painting, consists of two great investigations, one of a practical nature, the other theoretical. The first, concerning the conception of an original pictorial body of work, is based on the execution of a group of paintings, entitled Vox and Dei, and on the idealization of a spatial device designed to receive them, entitled It Was the Light. Simultaneously, a deep theoretical research was performed, regarding the relationship between spirituality and art in the Western cultural context (of Judeo-Christian matrix), and the notion of progressive autonomization of art (especially from the nineteenth century on) and its constitution as an alternative spiritual reality to the religious universe. For that, the manner in which three authors - Rui Chafes, Mark Rothko and Andrei Tarkovsky - fit perfectly the parameters of spirituality analyzed was brought into account, as well as their contribution, through their works, to the contemporary secular vision and conception of God. By electing these authors, and by speaking objectively of them and their works, within their specific artistic domains (namely sculpture, painting and filmmaking), the theoretical and discursive tools required to analyze in depth the results of the practical investigation were consolidated.

Advisors/Committee Members: Sabino, Isabel, 1955-.

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Tese de mestrado, Arte multimédia - Especialização em Audiovisuais, Universidade de Lisboa, Faculdade de Belas Artes, 2014

A Tese possui um filme - Monte, um primeiro habitar - em anexo que apenas poderá ser consultado na Biblioteca da FBAUL cota: CDA 163

The paper Monte, um primeiro habitar: a construção de um lugar (Monte, a primal dwelling : the construction of a place) is both a theoretical and practical work, developed during the Master in Multimedia Art –Audiovisuals of the Faculdade de Belas Artes da Universidade de Lisboa, that focuses on the concept of place. It aims to assess the link between building and dwelling, and it does so by the construction of a place and analysing its image and time dimensions. This thought emerged out of a artistc project (the vídeo Monte, um primeiro habitar) which directs the theoretical discussion of this dissertation. The theoretical section seeks not only to highlight the content related plurality of the concept of place, but also to actively employ this complexity in order to build what I call my place. In order to do so, the necessary dimensions of my place, ie, image, earth and time, are examined in light of scholars such as Gaston Bachelard, Martin Heidegger and Mircea Eliade. These dimensions are also tackled by the work of artists like Alberto Carneiro, Maya Deren, David Claerbout and Andrei Tarkovsky. The practical section is developed through the video Monte, a primal dwelling, composed by three non-linear sequences, which operates the practical construction of the previously developed concept of place (image-time place). This project which, in a theoretical and practical synergy, begun with just the search of my place, ended up discovering an ancestral, primal place, which we inhabit collectively through the archetype of our belonging to the world

Advisors/Committee Members: Gamito, Maria João, 1956-.

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This artistic doctoral dissertation comprises the essay film Melancholy Fragments (73 min.) and the book Melancholy Fragments: On Essay Film and Thinking. In making the film I wanted to explore if and how an artistic filmmaking practice works as thinking. What does it mean that I, with the help of and through the film production process, try to generate a kind of thinking? And how does it influence the form and expression of the film? The film itself can be seen as an answer to these questions. The film stages a kind of thinking within and through an artistic process. The other part of the dissertation, the written portion, deals with the creation of the film and my work on it, and with my study of film as thinking. The writing can be seen as a work story. By thinking I mean the activity of reflecting and evaluating and thereby generating ideas, questions, and temporary answers. It’s about a desire to figure something out. One way of getting at cinematic thinking is to see film shooting and editing as a thinking process instead of an execution of something that’s already been developed. Essay film as a form and method is particularly suited to a cinematic way of thinking because it relies on an exploratory perspective, an explicit subjectivity, and a metacritical approach, which is expressed in the film itself. Together, the dissertation film and book study, describe, and discuss in various ways the essay filmmaking process from the inside. The texts in the book, which were written after the completion of the film, focus on the type of thinking that emanated from my work on the film—what it led to and what it means for me. I can conclude that I have been surprised by how my thinking has changed and ended up in a very different place than it was when I started. I see this fact in particular as the clearest and most important “proof” that the process of making essay films works as a kind of thinking.

Första delen av denna avhandling, essäfilmen Melankoliska fragment, finns tillgänglig på Vimeo på adressen www.vimeo.com/346837573 och lösenord MelankoliskaFragment English version of the film: The first part of this dissertation, the essay film Melancholy Fragments, is available on Vimeo at the address www.vimeo.com/348446748 and password MelancholyFragments

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Essa tese propõe estudar estratégias de construção no cinema do cineasta russo (soviético) Andriêi Arsiénievitch Tarkóvski, estabelecendo o campo de análise nos sete longas-metragens realizados por ele entre 1962 e 1986. A hipótese central é que a obra cinematográfica tarkóvskiana se fez, a partir da articulação de procedimentos inerentes ao modelo de visão de mundo organizado pela perspectiva inversa, articulação essa que abriu possibilidades para experimentações estéticas associativas ao modelo predominante, organizado pela perspectiva linear. A hipótese subjacente é que as estratégias de construção do cinema de Tarkóvski configuram-se como resistência aos cânones da arte e da comunicação soviéticas. Objetiva-se compreender, primeiramente, como esses modelos de visão de mundo se conectam com o mundo visível para produzirem mensagens visuais e de que forma tais modelos problematizam o conceito de realismo nas artes e seus derivados, o Realismo Socialista. Em seguida, pretende-se identificar e discutir os procedimentos que se intersectam no tempo e no espaço nas seguintes construções distintas: Vanguardas Russas, pintura de ícones medieval e cinema de Andriêi Tarkóvski. Finalmente, demonstrar como modelos associativos dinamizaram a construção desse cinema através do uso da perspectiva inversa como procedimento, contrapondo-se aos cânones estabelecidos pelo Realismo Socialista. Elege-se como campo teórico, o conjunto de estudos dos processos dialógicos na arte realizados pelo teórico russo Mikhail Bakhtin, principalmente os conceitos de Pequeno e Grande Tempo, Cronotopia e Compreensão Ativa, em diálogo com os manifestos e escritos das Vanguardas Russas, privilegiando-se o campo conceitual trabalhado pelo pensador russo Pável Floriênski acerca da Perspectiva Inversa e ainda com o pensamento de Gilles Deleuze sobre o Ritornelo. Metodologicamente são selecionadas seqüências dos sete longas-metragens à luz dos conceitos que embasam esse trabalho. Dessas seqüências destacam-se os paradigmas que desencadeiam a associação entre os modelos de visão de mundo: as linhas potenciais conectivas de espaços; formação de centros múltiplos e o adensamento dos centros ou extratos cronotópicos. Por fim esse estudo distingue-se por contribuir para a problematização de modelos norteadores da criação artística e comunicacional da estética totalitária e outros, que norteiam estratégias que buscam resistir ao totalitarismo artístico e comunicacional na contemporaneidade

This thesis proposes to study the strategies of construction of the Russian (Soviet) filmmaker Andriêi Arsiénievitch Tarkóvski, establishing as the scope of the analysis the seven full-length features he made between 1962 and 1986. The central hypothesis is that the Tarkovskian cinematic works were made through the articulation of procedures inherent to the world view model organized through an reverse perspective, an articulation which opened possibilities for aesthetic experimentations associated to the predominant model, organized by the linear perspective. The…

Advisors/Committee Members: Silvio Ferraz.

▼ The practice of photography creates a dialogue as an object of social analysis, beyond that of it's technical and formal specificities. An image holds a responsability, one that should be taken as an element of study to understand the History, seen as an efficitient form of reflection on the fate of Man and society. Paulo Nozolino's photographs tell personal stories and recall others lost in the course of history, in the search for personal truth, through a solitary praxis, marked by monochromatic tones. In this way, it becomes important to understand his work as an irreproachable mark on the history of portugeuse photography, one to be considered as a work of reference Advisors/Committee Members: Pereira, José Carlos, 1970-.

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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2014

Going through three distinct paths, Visual Arts/Photography, the invention of the Essay and Poetry, this theorical-practical dissertation is followed by an artistic project which is formed of photographs and textual creations. The series that make up the practical work is intimately connected to the reflection surrounding photography matters and its subjectivity, being this a form of communication and information transmission or the lack of it. It is building an archive where in one side exists a photographic record of the reality, although very close to oneiric environments and, in the other side, a fragmented textual record of experienced dreams. Since the emergence of photography its reflection is divided in two segments, the technique and the “emotion”. It is especially in interest to detach the photography role as an extension of the memory where the registration of what exists in that moment becomes, before long, part of the past, of what existed. Photography allows doing this journey in time, allows to keep present matters of the past. Keeping a strong autobiographic character, this work builds a net of visual and textual information narrowly connected to the interior and to the individual memory, almost like it would be a fragmented poetic contemplation, conserving a conducting wire between the several pieces that it is composed by

Advisors/Committee Members: Vidal, Carlos, 1964-.

▼ We live in a time where everything, everywhere seems to be happening simultaneously, and indeterminately. Worldwide events expose themselves to us 24/7, from the major issues to the trivial. Sociopolitical unrest, economic instability and natural disasters are part of our everyday, as are the daily updates of some US celebrity or a Burkina Fasoan in Ouagadougou. At the same time, the same technology also adds more diversions – in the form of nonstop entertainment – to lull and ease our anxieties away. The rate in which these come to us is astonishing in acceleration and quantity, and in their stroboscopic appearance, they often leave us in states of confusion and bewilderment. This research is a study on the current age that we live in: an age of confusion, of anxiety, of uncertainty. In examining the symptoms, the exegesis will employ a multidisciplinary approach – from information and social theory, to literary and cultural studies, to contemporary art discourse – primarily to highlight the interdependency of the issue. These are bound via a single framework known as the 'oscillation' – a characteristic of our current condition, where we constantly renegotiate and reorient ourselves (between modernist and postmodernist values, between hope and despair, between reality and illusion and so on) – as formulated by Timotheus Vermeulen and Robin van den Akker. The studio practice aims to provide more than just a rhetoric to the dilemma. Highly self-conscious of itself in light of years of postmodern irony and skepticism, the series of drawings in this research allude to the aforementioned oscillation through using handwriting as their main visual code, done in a manner which blurs the distinction between writing and drawing. Ultimately, the work also endeavours – in all modesty – to serve as a reminder of art's redemptive potential.

▼ In 1916 the macrocosmic tensions of global conflict became focused on the microcosm of Berlin, Ontario. The nationalistic turmoil of the First World War incited a series of destructive events resulting in a schism within the flourishing industrial community and pitting ethnic Germans against the loyalist British. The outcome of this internal conflict would see one identity forfeited for another, the name Berlin for that of Kitchener. Over the next century, Kitchener’s downtown succumbed to a series of massive urban fires perforating the dense fabric of the city with echoing voids of collective amnesia. The historic fires of Berlin/Kitchener are the backdrop of the thesis, with two sites (the Foundation & Schneider’s Creek) forming the stage upon which a shamanic transformation is enacted through an intuitive assembly of historical narrative, photography, archival film, newspaper articles and psychogeographical research, illuminating the liminal space between personal and collective memories. Poetically inspired by the late Andrei Tarkovsky’s cinematic masterpiece, STALKER, the likenesses of the film’s primary characters have been composited into a series of montage images, standing in for the authors perspective and describing a mythic journey through the investigated sites, further blurring the boundary between history and memory, fact and fiction. Summoned by The Call, the Wanderer leaves the common world and travels into the bowels of the city, a fantastic subterranean underworld of shape-shifting humans, shadow figures and mythical beings. Like the stalker of Tarkovsky’s film, the Wanderer must navigate a shifting labyrinth of matter and memory to reach his final destination and reconcile with the fires of history. Only by answering The Call of memories forgotten can the Wanderer be reborn from the canal of the World Womb. Part visual essay and part film treatment, ANIMA URBEM is an imagistic/textual document narrating a hallucinogenic unfolding of occurrences throughout the history of Berlin/Kitchener and accompanied by the original film House of the Gathering, a poetic refrain within the memory weave.

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Tese de Mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2009

The present essay tries to put forward a pictorial space perception in Heidegger’s thinking, taking as an object of study several of the author’s texts. In a first stage, we approach Heidegger’s thought on creation, where the conception of truth appears as original opening and disclosure, to then discover that it is through the artwork that its “thingness” manifests itself and where the essence of the creative act comes together in let-be the Being and in the making as to let-be the work of art. We also look into the existence of parallels between Heidegger’s and Buddhist thought. In the following chapter, before exploring Heidegger’s concept of pictorial space, we try to put forward how the concept has been looked at throughout time within the discipline of art history, referring to a select few examples that we consider to be fundamental in arguing our case. It is our conviction that the history of painting is a history of discontinuity, where each change is a radical rupture, a spacing that’s a new beginning. To know if we might speak and how we would speak of Heidegger’s pictorial space, in third Chapter we traced a path through Dasein and thing spaciality, so as to then grasp the meaning of concepts like space, time, place and emptiness. In the final chapter, we go back to the works of art, choosing those artists whose ways of doing echo our shared understanding of Heidegger’s thoughts, and therefore converging the analysis done all across the thesis. Overall, we try, through this investigation, to articulate Heidegger’s reasoning with an oriented analysis within art history, through a movement of approximation and removal, deepening the two-fold meaning of space in these two blocks – historical and conceptual – that make up that analysis. In conclusion, we establish our insight into the concept of pictorial space in the language of the thinker here being discussed and within the historical context, followed by a discourse on artists and works of art by us considered more suitable.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico

This thesis proposes to study the strategies of construction of the Russian (Soviet) filmmaker Andriêi Arsiénievitch Tarkóvski, establishing as the scope of the analysis the seven full-length features he made between 1962 and 1986. The central hypothesis is that the Tarkovskian cinematic works were made through the articulation of procedures inherent to the world view model organized through an reverse perspective, an articulation which opened possibilities for aesthetic experimentations associated to the predominant model, organized by the linear perspective. The underlying hypothesis is that the construction strategies in Tarkóvsky s cinema present themselves as a form o resistance to the Soviet cannons of arts and communication. The primary objective is to understand how these world view models connect with the visible world to produce visual messages and in which way such models problematize the concept of realism in the Arts and one of its derivatives, the Socialist Realism. The secondary objective is to discuss the procedures that intersect in time and space in distinct constructions: the Russian Avant-Gardes, medieval painting and Andriêi Tarkóvski s cinema. The final objective is to demonstrate how associative models dynamized the construction of this cinema through the use of the reverse perspective as a procedure, counterposing itself to the cannons established by the Socialist Realism. The theoretical basis of this research lies on the studies of the dialogical processes realized by the Russian theorist Mikhail Bakhtin, especially regarding his concepts of Small and Great Time, Chronotopy and Active Comprehension, in dialog with the manifests and writings of the Russian Avant- Gardes, taking mainly into perspective the conceptual field worked by the Russian thinker Pável Floriênski concerning the Reverse Perspective, and with the thoughts of Gilles Deleuze about the Ritornello. Methodologically, sequences of the seven fulllength features are selected in light of the concepts in which this work is based on. From these sequences the paradigms that trigger the association between the world view models have been highlighted: the potential lines that connect spaces; the formation of multiple centers and the densening of the centres or chronotopical extracts. Finally, this study stands out as it contributes to the problematization of guiding models of the totalitarian aesthetics that direct artistic and communicational creation and others, that direct strategies that aim at resisting artistic and communicational totalitarianism nowadays

Essa tese propõe estudar estratégias de construção no cinema do cineasta russo (soviético) Andriêi Arsiénievitch Tarkóvski, estabelecendo o campo de análise nos sete longas-metragens realizados por ele entre…

Advisors/Committee Members: Ferraz, Silvio.

▼ This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei Tarkovsky—Bergman’s The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963), and Tarkovsky’s Stalker (1979), Nostalghia (1983), and The Sacrifice (1986). These films were chosen as they represent the deepest periods of two directors’ engagements with the possible death of God and the subsequent loss of intrinsic existential meaning—topics with which this thesis is principally concerned. As a starting point, this thesis argues that the films present the silence of God as the primary indicator of God’s absence from the human world. Becoming aware of this silence thus causes one to interrogate religious certainties which have hitherto been taken to be timeless and true. This thesis then contends that, when faced with this silence and its implications, Bergman desperately sought evidence of God’s existence while Tarkovsky unyieldingly maintained an attitude of faith. The directors’ progressions toward these contrasting positions are evident through the uses of sound elements in their films. As Bergman unsuccessfully pursued evidence of God’s existence, the soundscapes in his four films become increasingly minimal. The sparse use of sound reveals Bergman’s conception of a Godless void. On the other hand, metaphysical silence in Tarkovsky’s films was not perceived as emptiness. Instead, “silence” in his films was, paradoxically, often depicted through complex layers of sounds. Presented as manifestations of the metaphysical, the sounds of “silence” in Tarkovsky’s films consequently become affirmations of faith. Through this sound-based approach to film analysis, this thesis sets out to explain why Bergman and Tarkovsky understood metaphysical silence so differently by examining how they portrayed literal silences.

▼  This text addresses my work as an artist and defines it in the context of the following subjects: The concept of ruins, which highlights the relationship between architecture and landscape; the formal and metaphorical dialectic between absence and presence in abandoned places; and the idea of dystopia, which emerges from that in-between space where the real dissolves into the imaginary. At the same time, my work is inspired by the visual culture of cinema and literature, principally within the science-fiction genre, and draws upon my observation of abandoned buildings in Tehran, my native city. These urban ruins are products of the cultural and political changes triggered by the Iranian revolution of 1979. This text also accompanies my MFA project – a body of paintings and sculptures. Advisors/Committee Members: Cheryl Wassenaar, Cheryl Wassenaar.