Abstract
In film theory, discursivity has been studied from the perspective of semiotics and cognitivism. An approach to film from Lacanian discursivity supposes different perspectives on the world filmed and the objects in it, and offers an insight into how to understand cinema as a philosophical event that changes the coordinates to represent time, movement and language. In order to do this, four Lumière films, some of the most well-known in the history of cinema, will be understood as representatives of the master, university, hysteric and analytic discourses, respectively.
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