A poeta vai ao cinema: imagem e deslocamento na obra de Marília Garcia

Abstract

This research explores the relationship between poetry and cinema in the work of the poet Marília Garcia. It starts from the premise that the presence of cinema in the author’s poems is intrinsically connected to her theoretical-critical-reflective engagement with the theme of displacement, revealing a critical perspective that acknowledges the centrality of the technical image in the processes of subjectivation and in the perception of time and space, and regards cinema as a privileged medium for thinking about displacement in our time. It is assumed that this art, in Garcia’s poetry, reveals itself in a dual aspect: as a metaphor for the world and as a method of poetic creation. In this sense, the term cinematic consciousness is proposed to designate this relationship with cinema, in which it functions both as a worldview and as a strategy of poetic creation. Accordingly, this poetics is understood to establish, between the poetic image and the cinematic image, a relationship of “otherness” (Paz, 1992), in which cinema figures as the other of poetry—a way of thinking the world and the self. This research thus aims to demonstrate how Garcia mobilizes cinematic ideas and procedures in order to construct her poetics around displacement. For this purpose, Deleuze’s concepts of movement-image and time-image are shown to be essential to understanding why cinema serves as a privileged means for Marília Garcia’s theoretical-critical-reflective approach.