O CAVALO DE TURIM

UMA LEITURA SEMIÓTICA DO CINEMA EM BASES BAKHTINIANAS

Abstract

In his studies, the philosopher Mikhail Bakhtin (2010; 2011; 2014; 2021) takes as a principle a human being in relation to another human being. For this philosopher, it is in/with language that we enunciate our word impregnated with value, responding, reacting in a responsible act to the reaction of others. Bakhtin (2014) also affirms the interrelationship between art and life. For him, all content of the work of art is ethical, cognitive and axiologically affirmed by the author through material and form. When we penetrate a work, we contemplate it aesthetically and we can access it, feel it and perform it in comparison with the plurilanguages and multiple voices present in the world. The field of discursive readings is an expanding field, but we believe that it still lacks more systematized studies on readings of non-verbal texts, such as cinema, for example. In this article, we narrate an episode of reading carried out in the Bakhtinian Studies and Research Group ATOS-UFF, taking as textual material the film The Turin Horse, directed by Béla Tarr and Ágnes Hranitzky (2011). Our objective is to affirm the possibility of semiotic reading of a film produced from the perspective of ‘poetry cinema’ (PASOLINI, 1995), based on Bakhtinian philosophy. To this end, we seek to understand the author's creation process from the principles of the ‘contemplative author’ (BAKHTIN, 2014), who in ‘respondent understanding’ (BAKHTIN, 2011), in comparison with other texts, responds to the film with the gaze of life, in this case, the life of research in schools.