| dc.description.abstract | This thesis aims to characterize the semiotic state of the document-image in the light of Gilles Deleuze and Charles Sanders Peirce’s thoughts. Resuming the influence of Peirce in Deleuze’s cinematic thought – generally associated with Bergson – allowed a critical review about the movement-images and the time-images in the light of semiotics, and discovered a new type of image derived from the contemporary cinematic experience that introduces specific problematic for the study of cinema: the document-image, the core of the thesis. The image-document is thought as a time-image, more precisely, as a documentary face of the image-crystal, whose expressive matter consists in the figures of fabulation, the power of the false, the otherness of the character, the agent provocateur, the Character intercessor, the scenic game, the trance, the displacement and the nuclear assembly. In this cinema of document-image, instead of identifying the index of a reality already experienced (as in the classic documentaries), it behaves like a arrows of time (in series) that point to become of the world, inseparable from ideas of action, intervention and invention, made possible by the images of fabulation. In addition to demonstrate the theoretical relations between Peirce and Deleuze – where highlight the potential of this encounter –, the document-image was approached through essays. In these essays we intended to establish how the image-document works in scenes of the films Iracema, uma transa amazônica (1974), Jogo de cena (2007) and Di Glauber (1977), proposed as Brazilian experiences of image-document. This thesis, therefore, intends to reveal the ways in which thoughts of Peirce and Deleuze can be the way for a new image of thought whose matter of expression are the cinematic images. Finally, this research contributes to demonstrate that the practice of deleuzean writing conceived in the light of Peirce can bring important contributions to both theories. | en |
