Resumo (EN)
This study report departs from the semantic coincidence found in the titles of two films – Brazilian Neighboring sounds (2012) and Argentinean The man next door (2009) – to explore a theoretical path in examining the “other,” a concept pertaining to alterity. The semiotic theory of Algirdas Greimas is instrumental to understanding the two films’ narrative and discursive structures as well as time, space, and person categories. The cinematographic language mechanisms employed were also studied in search of their specificities. Based on Gilles Deleuze and other theoreticians, a conceptualization is offered about the difference between classical and modern cinema. This information is used to produce a concept of the “other.” When and how does this concept appear in the two films under study? In what space or time? With what face? These answers are then examined in the light of theoretical notions proposed by Anthony Giddens, Zygmunt Bauman, and Umberto Eco, among others. Such definitions will be useful to uncover the processes of enunciation about the proposed theme: the “other” in film narrative.