O colapso semiótico: experiência, contraste e concretude no cinema de John Cassavetes

Abstract

This work presents, guided by the relentless tracks of Ray Carney’s review (1994), the trajectory of semiotic ruptures and reinventions within the film productions of the American director and screenwriter John Cassavetes. The research developed presents the departures Cassavetes implement over the mainstream film tradition, that is, the way the director creates new meaning without sharing a visionary/symbolic aesthetic, the latter being identified by the presence of essentializing, metaforizing, subjectivizing, visionary, and contemplative tendencies (Carney 1994). By contravening this tradition, the films from Cassavetes emphasize that the artistic expression extracts its materials and organization forms directly from the activities of daily life. In this aspect, the director gathers the reflexive and aesthetic forces with the ideas of the philosopher John Dewey, since, for both, the notion of truth, in art, is transformed in a way of acting that spreads into the daily work, instead of a way of knowing. All the unraveling of this thematic will conduct to the consideration that the films of John Cassavetes can reveal, in a masterful way, the importance of film while an experience in the life of the human being. Moreover, the discussion presented allows to suggest how cinema can emancipate man, so that their perceptions can be broadened in the face of new experiences