What looks at us: Antoine's eyes
DOI:
https://doi.org/10.5007/2175-7917.2009v14n1p5Abstract
The concept of montage appropriated by Walter Benjamin from cinema constitutes, in the context of a cognitive crisis that accompanies the consolidation of capitalist modernity, a formal model that, according to the author, enables the reestablishment of the experience. From the mentioned concept, associated to the distancing between subject and object, we propose a reading of the film Les quatre cent coups (François Truffaut, 1959), in particular about the freezing of the final shot associated to the transgressive look of the character Antoine Doinel, whose eyes cause estrangement when crossing the spectators.
Downloads
Published
How to Cite
Issue
Section
License
This journal provides open access to all of it content on the principle that making research freely available to the public supports a greater global exchange of knowledge. Such access is associated with increased readership and increased citation of an author's work. For more information on this approach, see the Public Knowledge Project, which has designed this system to improve the scholarly and public quality of research, and which freely distributes the journal system as well as other software to support the open access publishing of scholarly resources. The names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.
Este trabalho está licenciado com uma Licença Creative Commons - Atribuição 4.0 Internacional.
