Lendo filmes

Abstract

The article examines the intricate nature of cinematic interpretation, contrasting it with other artistic forms such as literature and visual arts. It posits that each artistic work demands a distinct mode of decoding, shaped by the viewer’s cultural background. The theoretical framework draws upon scholars including Eisenstein, Barthes, Derrida, and Eco, who analyze the dynamic interplay between artwork and spectator, emphasizing the inherent subjectivity in the interpretive act. The study advances the argument that a film is not a fixed entity but an evolving process that achieves completion through the viewer’s engagement. Eisenstein (2002) underscores the significance of editing and audiovisual composition in shaping the audience’s emotional and intellectual response. Barthes (2004) contributes the concept of the text (or film) as a "tissue of quotations," open to plural readings, while Eco (1991) examines the boundaries of interpretation, asserting that although multiple readings are possible, the author’s intent provides a guiding framework. Furthermore, the article explores intertextuality and the palimpsest, demonstrating how films and other artistic productions engage in dialogue with preceding works. A comparative analysis across media—such as literature, painting, and cinema—reveals that reception is contingent upon the spectator’s cultural capital, as theorized by Bourdieu (1989). Additionally, the study investigates cinema’s affective and cognitive impact, referencing Deleuze (2005) to elucidate how moving images and montage elicit both subjective and collective reactions. In conclusion, the article asserts that film interpretation constitutes an act of symbolic decoding, wherein the spectator discerns visual, auditory, and narrative codes to derive meaning. Like other art forms, cinematic works attain their full significance only through interaction with the audience, whose interpretations are informed by personal experiences and cultural frameworks.