Múltiplos olhares sobre imagens cinematográficas

Abstract

This paper analyzes different theoretical positions regarding the comprehension of cinematographic images. While to some aesthetic schools the images are faithful copies of the perceived object, in other approaches they should be regarded as a construction process of which the artist's subjectivity and values are apart. The study also examines the manner in which the Cinema Novo, in the 1960's, adds to its aesthetic traces features of the modern and critical cinema which developed at that time, perceiving the construction of cinematographic images as a simulation and a trick, and not as a faithful representation of what is "real".