Jean-Jacques Courtine

This research undertakes a study on ways to articulate the fear in filmic horror productions; ie, it seeks to, through Foucault archeogenealogy, analyze the environment of fear in moving images that were produced to form the structure of horror films; precisely, it seeks to analyze the contemporary body modes of production marked by the horror these images. Thus, the objective of this work is to contribute to the (re) creation of the story of the ways in which contemporary fears are the order of the constitution of the ways in which human beings become subject at this time of simultaneous, of juxtaposition, next, the far, side by side, the scattered. It is a development of Foucault's inspiration in that we operate with some elements of his theoretical machinery such as: device; discursive event; speech and utterance. It is precisely in Foucault's work we find, in the words of Dreyfus and Rabinow, the most important contemporary effort not only to develop a method of studying human beings, as well as to diagnose the current state of our society. In these endeavors, the body appears as "an essential and multifaceted protagonist" is the archeological searches, is in the genealogical searches. Here, looking articulate the reflections of these projects carried out by Foucault with Metz working in the meaning in cinema with the semiotics of Roland Barthes.

Este estudo tem como objetivo central redesenhar a noção de intericonicidade que surgiu no trabalho desenvolvido por Jean-Jacques Courtine em 2003. Para tanto, vamos propor a inclusão das utopias e das heterotopias como elementos constitutivos das imagens. Partimos da tese de que toda imagem tem sua inscrição em espaços sobrepostos por utopias e heterotopias, ao mesmo tempo, julgamos que as memórias visuais sempre nos remetem à imagem de coisas situadas nos espaços sejam reais ou imaginários. Toda imagem ecoa outras imagens que forma uma rede em nossa memória visual. Esta rede de imagens é chamada por Courtine de intericonicidade. Por meio da intericonicidade será possível criar uma arqueologia do imaginário humano. Em relação à questão dos espaços, tomamos o trabalho desenvolvido por Foucault. Com a noção de intericonicidade e os gestos arqueogenealógicos de Foucault, buscamos compor nossa metodologia para analisar as imagens produzidas em filmes franceses de horror. A escolha por este tipo de filme se deve ao fato de que nossas angustias e medos, representados nessas produções, podem ser analisados como objetos de investigação histórica.

Nuestros objetivos en este trabajo son la aplicación de las propuestas metodológicas del análisis del discurso de la escuela francesa,  Courtine: 1981, aplicado al folklore urbano. Para este fin se verá  la constitución de corpus de textos que deben tener tres niveles analiticos: Enunciación, 2. Acciones relizadas 3. Valoraciones asociadas.

This study was aimed at redesigning the notion intericonicidade that emerged in the work of Jean-Jacques Courtine in 2003. To this end, we propose the inclusion of utopias and heterotopias as constituent elements of the images. We start from the idea that every image has its application in overlapping spaces for utopias and heterotopias at the same time, we believe that visual memories always refer to the image of things situated in the spaces are real or imaginary. Every image echoes other images that form a network in our visual memory. This network of images is called by Courtine of intericonicity. Through intericonicity you can create an archeology of the human imagination. On the issue of space, we take the work of Foucault. With the notion of intericonicity and archeogenealogics gestures of Foucault, we seek to make our methodology to analyze the images produced in French horror films. The choice for this type of film is due to the fact that our anxieties and fears, represented in these productions can be analyzed as historical research objects.