The doppelganger symbolism at the dawn of French Cinema

Authors

DOI:

https://doi.org/10.15448/1980-3729.2023.1.44791

Keywords:

French cinema, double, imaginary

Abstract

The pioneers of French cinema founded the audiovisual language which allows narratives with moving images, while developing techniques of capture and editing, recording and representation, sequence and superposition of shots, multiple exposure frames, of appearance or disappearance. For Morin, this ghostly duplication of the world by the cinematographic image is motivated by the symbolic image of the double, which brings together dreams and cinema. In this article we discuss such symbolism in empirical reference objects of this initial moment of the Seventh Art.

Downloads

Download data is not yet available.

Author Biographies

Ana Taís Martins, Universidade Federal do Rio Grande do Sul (UFRGS), Porto Alegre, RS, Brasil.

PhD in Communication from the University of São Paulo (USP), in São Paulo, SP, Brazil, with post-doctorate in Philosophy of Image from Université Jean Moulin - Lyon/3, in Lyon, France. Journalist and photographer.
Professor at the Faculty of Communication Department of Library Science and Communication (Fabico), from the Federal University of Rio Grande do Sul (UFRGS), in Porto Alegre, RS, Brazil. Director of the Research Group
Imaginalis (CNPq/UFRGS); deputy coordinator of GT “Images and media imaginaries” of the Association of Postgraduate Programs in Communication
(Compós), Brazil.

Danilo Fantinel , Universidade Paulista (UNIP), São Paulo, SP, Brasil.

PhD in Communication from the Federal University of Rio Grande do Sul (UFRGS), in Porto Alegre, RS, Brazil, with a sandwich doctorate from the University Jean-Moulin Lyon 3, in Lyon, France. Journalist, president of the Film Critics Association of Rio Grande do Sul (Accirs). Deputy coordinator of Audiovisual Sector Collegiate (CSAv). Integral of the Imaginalis Research Group (CNPq/UFRGS) in Porto Alegre, RS, Brazil. Postdoctoral researcher with a grant from the Coordination for the Improvement of Higher Education Personnel (CAPES) at the University Paulista (UNIP), in São Paulo, SP, Brazil.

References

BAITELLO Jr., Norval. As quatro devorações: iconofagia e antropofagia na comunicação e na cultura. In: ENCONTRO ANUAL DA COMPÓS, 11., 2002, Rio de Janeiro. Anais [...]. Rio de Janeiro, UFRJ, 2002.

BELTING, Hans. Por uma antropologia da imagem. Concinnitas: Revista do Instituto de Artes da UERJ, Rio de Janeiro, v. 6, n. 8, p. 64-78, jul. 2005.

BERGSON, Henri. Ensaio sobre os dados imediatos da consciência. Lisboa: Edições 70, 2011.

COUSINS, Mark. História do Cinema: dos clássicos mudos ao cinema moderno. São Paulo: Martins Editora, 2013.

DESCARTES, René. Discurso do método. Lisboa: Edições 70, 1979.

DURAND, Gilbert. Les structures anthropologiques de l’imaginaire. Paris: Dunod, 2016. DOI: https://doi.org/10.3917/dunod.duran.2016.01

FAROCKI, Harun. A Saída dos Operários da Fábrica - Arbeiterverlassen die Fabrik. Berlin: Harun Farocki- Filmproduktion, 1995. Disponível em: https://youtu.be/8N6fjLfds0A. Acesso em: 13 jan. 2023.

JUNG, C. G.; KERENY, K. Introduction à l’essence de la mythologie. Paris: Payot & Rivages, 2016.

LUMIÈRE, Auguste et Louis. La Sortie de l’UsineLumière. Lyon: Lumière, 1895. Disponível em: https://youtu.be/J1EdyZtkGXo. Acesso em: 12 jan. 2023.

MÉLIÈS, Georges. Le rêve d’un fumeurd’opium. Montreuil: Star Film, 1908. Disponível em: https://youtu.be/H1kkVnWu1FY. Acesso em: 15 jan. 2023.

MORIN, Edgar. O cinema ou o homem imaginário. Ensaio de antropologia sociológica. São Paulo: É Realizações, 2014.

PLATÃO. O sofista. Salvador: UFB, 1980. Disponível em: http://www.dominiopublico.gov.br/download/texto/eb000018.pdf. Acesso em: 12 jan. 2023.

WUNENBURGER, Jean-Jacques. Le miroir, le secret et le sacré. Ostium, Bratislava, v. 2, p. 1-13, 2015. Disponível em: https://ostium.sk/language/sk/le-miroir-le-secret-et-le-sacre. Acesso em: 11 jan. 2023.

WUNENBURGER, Jean-Jacques. Gaston Bachelard.In: Introduction aux methodologies de l’imaginaire. Paris: Elipse, 1998. p. 111-119.

Downloads

Published

2023-10-31

How to Cite

Martins, A. T., & Fantinel , D. (2023). The doppelganger symbolism at the dawn of French Cinema. Revista FAMECOS, 30(1), e44791. https://doi.org/10.15448/1980-3729.2023.1.44791

Issue

Vol. 30 No. 1 (2023): Single Volume

Section

DOSSIER: French Cinematography: from the Lumières & Méliès to VR & AI

License

Copyright (c) 2023 Revista FAMECOS

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Derechos de Autor

La sumisión de originales para la Revista Famecos implica la transferencia, por los autores, de los derechos de publicación. El copyright de los artículos de esta revista es el autor, junto con los derechos de la revista a la primera publicación. Los autores sólo podrán utilizar los mismos resultados en otras publicaciones indicando claramente a Revista Famecos como el medio de la publicación original.

Creative Commons License

Excepto donde especificado de modo diferente, se aplican a la materia publicada en este periódico los términos de una licencia Creative Commons Atribución 4.0 Internacional, que permite el uso irrestricto, la distribución y la reproducción en cualquier medio siempre y cuando la publicación original sea correctamente citada.