To enact lines of force: perceptual dimensions in Goodbye, Dragon Inn

Authors

  • Eduardo Brandão Pinto Universidade Federal do Rio de Janeiro

DOI:

https://doi.org/10.11606/issn.2316-7114.sig.2020.166247

Keywords:

Contemporary cinema, Tsai Ming-Liang, Percepts, Mise en scène, Slow cinema

Abstract

What is the role of categories such as empty and slowness in contemporary cinema? In Goodbye, Dragon Inn, Tsai Ming-Liang radicalizes the experimentation of elements that point to a negative energy of the image. In this essay, I identify a new status of film image: no longer defined as what organizes the visible in the form of a field, but as the appearance of the visible as a composition of lines of power. For such, I construct the concepts of molar and molecular percepts, which dialogue with the thought of Deleuze and Guattari. I propose to think of acting as a coordination of the forces in emergence in what is visible, therefore debating with contemporary theorists of cinema.

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Author Biography

  • Eduardo Brandão Pinto, Universidade Federal do Rio de Janeiro

    Doutorando no Programa de Pós-Graduação em Comunicação e Cultura da Universidade Federal do Rio de Janeiro (UFRJ), na linha de tecnologias da comunicação e estética. Mestre em Artes da Cena pela UFRJ, com bolsa da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior. Bacharel em cinema e audiovisual pela Universidade Federal Fluminense. Professor e realizador audiovisual.

References

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Referências audiovisuais

AI qing wan sui (Viva o amor). Tsai Ming-Liang, Taiwan, 1994.

BU san (Adeus, Dragon Inn). Tsai Ming-Liang, Taiwan, 2003.

DONG (O buraco). Tsai Ming-Liang, Taiwan, 1998.

LONG men kezhan (Dragon Gate Inn). King Hu, Taiwan/China, 1967.

TCHELOVEK s kinoapparatom (Um homem com uma câmera). Dziga Vertov, URSS, 1929.

TIAN bian yi duo yun (O sabor da melancia). Tsai Ming-Liang, Taiwan, 2005.

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Published

2020-07-09

Issue

Vol. 47 No. 54 (2020): The scenic space in audiovisual media: transits between theater and cinema

Section

Dossier

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Copyright (c) 2020 Eduardo Brandão Pinto

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How to Cite

To enact lines of force: perceptual dimensions in Goodbye, Dragon Inn. (2020). Significação: Journal of Audiovisual Culture, 47(54), 102-120. https://doi.org/10.11606/issn.2316-7114.sig.2020.166247