CINEMA AND PHILOSOPHY: ITS FACES

被引：0

作者：

Fernando Saldarriaga, Jose ^{[1
,2
]}

Cardona, Natali ^{[3
]}

机构：

[1] Univ Autonoma Latinoamer, Sociol, Medellin, Colombia

[2] Univ Autonoma Latinoamer, Estudios Polit & Candidato, Medellin, Colombia

[3] Univ Autonoma Latinoamer, Fac Derecho, Medellin, Colombia

来源：

RATIO JURIS | 2014年 / 9卷 / 19期

关键词：

cinema; philosophy; immanent shot; face;

D O I：

10.24142/raju.v9n19a8

中图分类号：

D9 [法律]; DF [法律];

学科分类号：

0301 ;

摘要：

The present study is a scheme to build a cartography of the face in the cinematographic work of the Swedish film director Ingmar Bergman. Movies such as: Crisis (Kris, 1946), Summer with Monica (Sommaren med Monika, 1953), The silence (Tystnaden, 1963), and Wild strawberries (Smultronstallet, 1957) allow to apply the philosophic notions studied by Gilles Deleuze: rhizome, Immanent shot, affection shot, 'faceness' in the frame, not only an historic but an aesthetic study of the face. Cinema and philosophy are the means of these thinkers.

引用

页码：199 / 216

页数：18