Abstract
This article analyzes the Brazilian cable television channel Globo News’ institutional motion sequence Intolerância. Israeli designer, Noma Bar, illustrated and directed Intolerância, which reveals in its discursive structures how the gaze of a Latin American country hegemonic media on the identity conflicts between West and East is aligned with Western powers. In the wake of Floch’s theoretical developments in plastic semiotics and Bergson’s postulations on the mechanism of the philosophy-centered filmmaking movement, this study aims to consider kineticism as a constitutive formant of visuality in audiovisual texts. The analyzed motion sequence is a notably exemplary object of establishing such hypothesis.
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