O Sujeito Humano- Maquínico nas Configurações Sociais Proposta pelo Cinema de Ciência – Ficção

Resumo (EN)

The human subject - in the social proposal for the science of cinema in the mechanical configurations - fiction is the heading of this dissertation that has an objective to characterize the construction of the seventh art presented as a product of cultural identification for the public.
Being a community - social groups - artists and scientists, who appear in the film Blade Runner, as the primary ones responsible for the configuration of time and space preconfigured for science-fiction cinema, the work analyzes the production as a social paradigm, the passing from modernity to post - modernity. This is the plot narrative of this piece of fiction
The main problem faced in the research, is related to the definition of Modernity directly linked with the phenomenon of mass and the Industrial Revolutions, which is found in cinema - modem invention par excellence -another type of revolution, much more difficult to define for its aesthetic character, coming from the subjective transformation of their behavior in these social groups, committed to perpetuate by means of their representation.
The object of this dissertation results in an imaginary construction of a cultural, one that society promotes in its desire to capture time. ln this way, formulating a methodology trajectory that goes from the cultural contextualization with the appearance of the mass phenomenon until the application of the categories, chosen in function of our work : natural versus artificial; man versus machine; Real and imaginary; the dehumanization of the cities and human identity expressed by the idealizer himself Ridley Scott, based on the presumption of his cinematographer career and research reflected in his art the relationship between the citizen and his mechanical correlative ..
From these presuppositions expressed in a thematic way, we transform these analytic categories to show the cultural trajectory of the human being in society.
The main theoretical references used in this work is based on such pieces of work as: A rebelião das massas (2002) by Jose Ortega Y Gasset; Humano demasiado humano (2005) by Friedrich Nietzsche; Ensaios e conferências (2006) by Martin Heidegger, O discurso filosófico da modernidade (2002) by Jürgen Habermas to extract from them the cause of the mass phenomenon and the effects that this provoked on modem society.
For questions on cinematographic theories, we use the work of Gilles Deleuze La image - movimiento (1984) that puts the reader in the realm of science-fiction and of the accepting effect of the camera, the setting and the filming itself.
Finally this dissertation discusses more than just the questions of the type of fiction, a social theme and a bad feeling installed in culture about of future of the subject shown by the clairvoyance of cinema.