Ninth International Conference on The Image

Abstract

I conceive cinema as a way of thinking, as something organic, cultural and historical. Instrument of power that since the nineteenth century has impacted the way of attending and understanding the attention, perception and consequently the notion of reality. There is some background to be taken into account: the concept of montage and the Soviet avant-garde filmmaking of Dzyga Vertov, Slavko Vorkapic’s montage of Slavko sequences, who uses the syntax of cinematic language and narrative resources of the classical montage but uses them as an attack to every classical form of the story, and finally, the capital premise of the assembly of attractions of Serge Eisenstein. With this background, I intend an amalgam, in artistic form embodied in experimental works, understanding the sphere of the experimental as a form of resistance to the mass media of audiovisual production, axis of criticism before the visual cliché. Thus, I appropriate the hybrid cinema as a bridge to problematize the visual aesthetic and cultural, before a homogenizing and globalized panorama. I look for strategies that contribute to generate a more balanced relation between the visual narratives, the means of production and the creators. In conclusion, it is a work of creation - research in search of renewing and alternative forms for visual narratives, which permanently asks about visuality, the role of image movement in the current visual culture.