O conceito de autoria como valor: um intercâmbio entre arte e mercado na história cultural do cinema

Abstract

This thesis presupposes the concept of authorship in cinema as core principle for the cultural history of this artistic expressive media. It is assumed that the author is an idealised notion of the imaginary constituted by aesthetic and cultural discussions that involve several speech producer institutions, among which, critics specialised publications, film studies in academia, international film festival circuit and commerce of cinema products. That leads us to a question: how cultural-artistic values are related to techniques for the visibility of works by the market of distribution in order to arouse sensibilities and gain recognition from analysts and viewers? It is proposed, in this study, the connection between a cluster of theoretical and conceptual premisses and the cinematographic thinking which regards to the terms cinephilia, history and theories of cinema, art cinema as an institution and a mode of film practice, authorship marks and star system (BAECQUE, 2010; SARRIS, 2010; BORDWELL, 2005; NEALE 2002; DE VALCK, 2007; STAIGER, 2003; CORRIGAN, 2003; ELSAESSER, 2012; GRAY, 2010; MORIN, 1989). The concept of authorship, in this scenario, emerges as an original source of reverberated values that affect the meanings related to notions about art and industry, producing an uncritical interchange between the ideas of the author as either an artistic representation or as a brand for cultural products promotion within the commercial communication business.