Da pose fotográfica à passagem cinematográfica: fundamentos da imagem fotossensível

Abstract

Movement has been employed by visual arts at least since Classical Antiquity. However, while painting expresses movement through its details, in film movement, itself is detailed, decomposed and recomposed, as a direct result of Marey’s and Muybridge’s chronophotographies. In his essay on photography, Roland Barthes defines the 'pose' as the foundation of the photographic image. However, while photography produces a sort of time concentration through its spatial immobility, especially since the development of the instantaneous photography, film elaborates a time dilution, thanks to ‘passage’, the very essence of the cinematographic image. As opposed to painting and photography, film would exceed, from the very beginning, the simple ‘imitation of appearances’ to attain a sort of ‘restitution of presence’.