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O que nos olha nos olhos: o olhar de Antoine

2009; UNIVERSIDADE FEDERAL DE SANTA CATARINA; Volume: 14; Issue: 1 Linguagem: Inglês

10.5007/2175-7917.2009v14n1p5

2175-7917

Tiago Hermano Breunig, Carolina Vidal,

Schopenhauer and Stefan Zweig

The concept of montage appropriated by Walter Benjamin from cinema constitutes, in the context of a cognitive crisis that accompanies the consolidation of capitalist modernity, a formal model that, according to the author, enables the reestablishment of the experience. From the mentioned concept, associated to the distancing between subject and object, we propose a reading of the film Les quatre cent coups (Francois Truffaut, 1959), in particular about the freezing of the final shot associated to the transgressive look of the character Antoine Doinel, whose eyes cause estrangement when crossing the spectators.