| dc.description.abstract | The purpose of this research is to analyze the problems that comes from images that are not only willing to be seen, but also and especially to be handled. The materiality of relations provides opportunities for several experiences in contemporary audiovisuals, this justifies the importance of studies indicated to understand this phenomenon. In this research we purpose to analyze what arise from possibilities of usage, enunciating how the web documentary Le Défi des Bâtisseurs is structured and what follows from the assortments done by the user, in a systemic outflow, built to be followed by the user in order that he or she can connect with the project in diverse environments and in different ways. In this point of view, the cinematographic legacy presents itself with preponderance, leading the appointed dynamics. It is used as method the cartographic mapping (KILPP, 2010a) and as methodological tools it is used the character of the flâneur and the collector (BENJAMIN, 2006). Through the cartographic mapping it is possible to build, from the analysis, a dialectic figure of the audiovisual Le Défi des Bâtisseurs. A dialectic figure of different eras determined from a specific moment, unlike a image from a picture that can be showed, but as a pronunciation of an image full with visible and invisible assertions, of a series of usages that repeat and differentiate themselves through mounting sockets that change their frame with each new user. The study includes theoretical-methodological movements that allude to the character of Deleuze (1985) about the assemblage schools and the avatars of the movement-images, sustained by the theoretical supplements of Gumbrecht (2010) about the presence production and the aesthetic experience. At last the goals are achieved and is presented the emergency of the narrative aesthetical assembly. | en |
