Narrativa cinematográfica e realismo indireto: Para uma abordagem fenomenológica da narratividade

Abstract

Starting from the analysis of the concepts of narrativity and real, we propose, in this article, a critical reflection on the realistic theory that relates the "authenticity"of cinema with a refusal of narrativity. The realist tradition that has been established in film theory throughout the twentieth century (with names like Kracauer, Bazin or Deleuze) generally defends a refusal of narrative and a valuation of the immediacy of images. There are, however, alternative approaches to narrativity that allow us to reconnect it with realistic purposes of cinema and the arts. We intend to develop one of these approaches, based on the following premises: 1) Narratological studies and phenomenological studies of narrativity are essentially different, complementing each other. 2) Phenomenology allows reinterpreting narrativity, relating it, in a particularly broad sense, with the notions of performativity and authorship. 3) Performativity implies a departure from the real and its literality. 4) Cinema is intimately linked to performativity, but also calls for a close relationship with the real, recognizable not only in the intrinsic nature of the medium itself (the machine-eye), but above all in the permanent search for "authenticity"by filmmakers and aesthetics of cinema. 5) This apparent contradiction - which, in our view, constitutes the core of the aesthetic problem - can be minimized in the light of an indirect realism.