As expressões expandidas do cinema em diálogo com os seus aspectos canônicos

Abstract

Expanded cinema (YOUNGBLOOD, 1970) and expanded theory (MICHAUD, 2014) deal with cinema by its broadest aspect. If the former defends cinema in its interfaces and interactions with other arts, and greater artistic freedom for the medium, the latter argues that the way of thinking of cinema is present in most forms of expression of the image today. When we look at the cinema today, we realize that it is based on a triad of devices, which are so ingrained in it, almost confused with the cinema itself. The projection, the photographic apparatus and the cinema are so common to the cinema that we have come to think that only then can the cinema manifest itself. The issue to be addressed is that the cinema is independent of its device, even if it does not deny the existence of a cinematographic device. But cinema is the way of thinking the image. If the photograph tried to make static the motion captured, the cinema tries to reanimate this movement. The difference of perception is essential to perceive the distance between the fields. This work has as central hypothesis the vision of the cinema as independent of a specific support for its exhibition. Through the research of the device that became hegemonic during the twentieth century, we propose to demonstrate the various forms that cinema can manifest, without losing its basic characteristics, which define an image as cinematographic: movement and plurality.