O cinema em A peculiaridade do estético de György Lukács

Abstract

The aim of this dissertation is to discuss the aesthetic categories of art based on the work The Peculiarity of the Aesthetic, by the Hungarian philosopher György Lukács, as well as to analyze the specific case of cinema and explain the categories of this particular art form. We set out to analyze the historical development of cinema as an artistic genre and its potential to fulfill the social mission of art, based on Lukács' system of categorical mediations in his Aesthetics. To this end, we have divided the dissertation into two parts. The first part is dedicated to the categorical mediations of the aesthetic, consisting of a predominantly philosophical debate, while the second part proposes an analysis of the historical development of cinema and some of its main works, in order to follow, from this artistic genre, the emergence and consolidation of the aesthetic categories previously analyzed. The second part is based on Guido Oldrini's History of Cinema in 20th Century Culture: A Critical Mapping, published in 2006 by the Italian, one of the great contemporary scholars of Lukács' work. The first part has The Peculiarity of the Aesthetic as its main point of reference. The final chapter proposes to debate allegory as a category of emptying meaning in contemporary art, its implications and philosophical derivations, and its impact on cinema as art. The final considerations are based on the liberating struggle of art, so defended by Lukács, as a possibility for the survival of art in relation to capitalism, in which a horizon free from this mode of production is pointed out as a real possibility for emancipation, including artistic emancipation.