CINEMA WITH NANCY

Abstract

This work starts from the thought of Jean-Luc Nancy to set up a contact with the poem “Cinema”, of Guilherme de Almeida (published in 1925, in the book Encantamento), and, in a broader sense, with the cinematographic technique itself. This contact unveils or passes, inevitably, by two others: the cinema with modernity, the cinema with war. In this sense, starting from “Cinema”, the cinematographic technique, the brazilian modernity in the 1920s and the war technique are seen in some points of closer proximity and even indissociation, but also in opportunities of distance and denial, in which singulars experiences become capable of undoing consensus and disarming the war, so that, shutting the senses and the risk of extermination are transformed into opening and risk of life, that is, are transformed into life that is brought into play, always and again, for love and combat, exposed in its singularity, its existence.