Abstract
http://dx.doi.org/10.5007/2175-8026.2017v70n1p249O advento das tecnologias digitais inquestionavelmente afetou o cinema. A relação indexical e o efeito realístico com o mundo fotografado, muito elogiados por André Bazin (2005) e Roland Barthes (1986), é apenas um dos aspectos afetados. Este artigo discute o cinema à luz das novas possibilidades digitais, refletindo sobre a consideração de Steven Shaviro sobre "como um realismo não indexical pode ser possível" (Postcinematic 63) e como de fato um novo tipo de realidade, digital, pode emergir no filme de ficção científica Contra o Tempo (2013), de Duncan Jones.
Highlights
Canoinhas, Santa Catarina, BR Abstract he advent of digital technologies unquestionably afected cinema. he indexical relation and realistic efect with the photographed world much praised by André Bazin (2005) and Roland Barthes (1986) is just one of the afected aspects. his article discusses cinema in light of the new digital possibilities, relecting on Steven Shaviro’s consideration of “how a nonindexical realism might be possible” (Postcinematic 63) and how a new kind of reality, a digital one, might emerge in the science iction ilm Source Code (2013) by Duncan Jones
Diferent layers of virtuality compose space in Source Code. he narrative reveals three main layers of existence, which superimpose and fold into each other; they correspond to the diferent realities Captain Stevens inds along the ilm. he irst is Captain Goodwin’s control room. he second is where Captain Stevens is locked in what looks like a spaceship cabin, the capsule. he third is the simulation where the latter travels to, the train. his convoluted space tricks our understanding of what is real in this ilm. he virtual worlds of the simulations challenge the characters’ and the viewers’ mapping of reality
More interesting is that the capsule where Captain Stevens is trapped is not real, being a virtual reality created by the program Source Code
Summary
He narrative reveals three main layers of existence, which superimpose and fold into each other; they correspond to the diferent realities Captain Stevens inds along the ilm. More interesting is that the capsule where Captain Stevens is trapped is not real, being a virtual reality created by the program Source Code. Another inversion is that the real world where Captain Goodwin is located appears only on the virtual image of the screen in the virtual reality of the capsule.
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