A construção do tempo no diálogo entre cinema e vídeo

Abstract

By focusing on montage or editing that can characterize a method of temporal construction, this study confronts two medias that operate moving images, which suggests different ways of thinking about time. We will discuss the issue of time in the cinema and on video through a brief discrimination between the two languages and, as an example, we will analyze editing and images and sounds on the video Trovoada, in an effort to grasp the temporalities that are characteristic of video. Next, for purposes of comparison, we will analyze the movie Nick s movie (or Lightning Over Water), in which there is a dialogue between cinema and video. Before the digital age, the nature of the supports used in the cinema and in video was different. We understand that both are based in distinct procedures in producing images in movement and generate specific languages that show different temporalities. This difference can be understood as the matrix of the characteristics of the languages. Cinema was the first medium to operate moving images and, by doing this, it opened up broader questioning regarding time, insofar as it moves from a static image to an image that has a specific duration. Video, on the other hand, comes about as an electronic image in which there is effectively an inscription of time in the support itself, and which offers new editing techniques and procedures. We have considered, as a hypothesis, that there are different kinds of times and montages in cinema and video and that the two languages are differentiated by more specific constructions, or that their dialogue takes place in more hybrid constructions: the times articulated in both supports are distinct from each other and blend together. The main authors who have built the theoretical basis of this research are: Arlindo Machado, Raymond Bellour, André Parente, Gene Youngblood, Philippe Dubois, Yvana Fechine, Lucrecia D Alessio Ferrara, Christine Mello and Gilles Deleuze