Imagens que escorrem: uma investigação poética das entre-imagens

Abstract

This work develops an investigation of the poetics from a specific sample of the in-between- images concept established by Bellour that refers to the images that discuss relations between the stillness and the movement, these being, the “overflowing images”. Once these images specifically go from the photographic to the kinematic in a subtle, unexpected, slippery and sometimes imperceptible manner, causing a mental confusion that awakens the need for such research, which seeks to understand how it occurs and what it generates for its viewers. In contemporary times the rise of hybrid languages, which includes hybrid processes between photography and cinema, must be studied for their poetic potentialities that arise from their differentiated temporalities. In order to do this, it is considered a contextualization of contemporary artistic production based on the hybridism of languages, articulating the ''post- media condition'', concept discussed by Krauss, and also the "movement of the means’ convergence” concept, discussed by Machado, as well as a contextualization with images that work similar temporal issues outside the artistic field. Considering that these images subtly depart from photographic to cinematic, they are photographically analyzed, based on the thoughts of Flusser and Barthes, which leads to the understanding of the movement presence as an addition of plastic and a poetic element. Thus, the goal is to perform the analysis of two important contemporary Brazilian works, which are within this phenomenon, such as “Frutos Estranhos” by Rosângela Rennó, and “Arvorar” by Kátia Maciel, to a better understanding of how the movement can be poetically practiced in photography and what are the poetic additions to it.