Para compreender o Fausto de Sokúrov, o crítico deve levar em conta que percebemos nele, a priori, um diálogo com a pintura e com o teatro, evidentemente. Não se trata apenas de referências, ou intertextos, pois o filme está impregnado de elementos iconográficos e de metáforas, de modo que, ao analisar a obra, é necessário atentar para as sutilezas dos símbolos que são apresentados ao longo do filme. E, mais, a tessitura da narrativa oferece características próprias da poesia. Sendo assim, dir-se-ia que há uma construção próxima à prosa poética, que encontramos na literatura de muitos autores. O objetivo, portanto, desta pesquisa será evidenciar que, a partir de uma interpretação livre, Sokúrov pôs em relevo não só os aspectos poético-literários, mas também incluiu e destacou impressionantes imagens pictóricas, que são mais que meras indicações intertextuais com a pintura de grandes mestres, a saber: Hieronymus Bosch (1450-1516), Lucas Cranach (1472-1553), Herri met de Bles (1510-1555 ou 1560), Albrecht Altdorfer (1480-1538), Pieter Bruegel (1525-1569), Rembrandt Harmenszoon van Rijn (1606-1669), David Teniers, o Jovem (1610-1690), Johannes Vermeer (1632-1675) e Caspar David Friedrich (1774-1840). Com o recurso da imagem e do discurso cinematográfico, salientou as antíteses dos estados de alma, que oscilam, no filme, entre o grotesco e o sublime, o belo e o bizarro, o iluminado e o sombrio, o prazer e a dor, a fé e a ciência, a ordem e o caos, a humildade e a arrogância, apenas para citar alguns aspectos presentes no poema trágico de Goethe. / In order to comprehend Sokurov´s cinematographic version of Goethe´s Faust we must remember that a dialogue with painting is evident besides that with theatre, of course. This is not due only to references or clear \"intertexts\", but also to the appropriation of painters´styles. This is a help for the construction of a poetic narrative, instead of a plain one. Our search aims to put in evidence that Sokurov is bent to the poetic aspects of Goethe´s Faust, much more than the narrative ones, and is helped by the manners and the paintings of Hieronymus Bosch (1450-1516), Lucas Cranach (1472-1553), Herri met de Bles (1510-1555 ou 1560), Albrecht Altdorfer (1480-1538), Pieter Bruegel (1525-1569), Rembrandt van Rijn (1606-1669), David Teniers, the Young (1610-1690), Vermeer (1632-1675) and Caspar David Friedrich (1774-1840). With such a help, Sokurov uses his cinematographic resources to put in evidence antithesis of human soul that he sees in Goethe´s Faust, such as lust and saintity, the grotesque and the sublime, the beauty and the bizarre, the enlightened and the darkened, the pleasant and the painful, the faithful and the unfaithful, the ordered and the chaotic. Deciding to tread the way of poetry, Sokurov marks the cinematographic art with a narrative that is a poetic hommage to painting and a dreadful vision of the world.

Внимание в данной исследовательской работе акцентируется на механизме проникновения средств, используемых в живописи, в художественную ткань современного кинематографа путем их адаптации к визуальной форме, которую принимает тот или иной киноматериал. Кроме того, на первый план выносится проблема интерпретации творчества ряда художников XVI-XIX веков (Питер Брейгель Старший, Микеланджело Меризи да Караваджо, Рембрандт Харменсван Рейн, Франсиско де Гойя, Винсент Ван Гог) режиссерами, работающими в разных кинематографических жанрах и направлениях, которые автор разделяет на три условные группы: фильмы-биографии, повествующие о судьбах знаменитых живописцев, авторское кино и артхаус.В связи с общемировой тенденцией синтеза искусств значимость работы состоит в определенном вкладе в решение актуального вопроса о роли вдохновленных живописью художественных приемов и средств в киноискусстве. Практическое значение диссертации обусловлено возможностью применения результатов исследования в дальнейшем изучении как широкого спектра художественных возможностей киноискусства в целом, так и взаимопроникновения языков кино и живописи в частности. / Attention in this research focuses on the mechanism of penetration of pictorial tools in the artistic basis of modern cinema by adapting them to the visual form which film material takes. In addition, special accent is put to the problem of interpreting the creation of several artists of the XVI-XIX centuries (such as Peter Brueghel the Elder, Michelangelo Merisi da Caravaggio, Rembrandt Harmens van Rijn, Francisco de Goya, Vincent van Gogh) by directors working in different cinematographic genres and directions. The author dividesthe empirical research base into three conditional groups: films-biographies narrating about the fates of famous painters, auteur cinema and arthouse cinema. The significance of the research consists in a definite contribution to the solution of the actual question of the role of artistic techniques and means that inspired by painting in filmmaking. The results of the research can be useful in the further study of both a wide range of artistic possibilities of cinematography in general, and interpenetration between languages of cinema and painting in particular.

Ce travail part d’une double intuition de Georges Bataille. D’une part, une loi qu’il énonce au Collège de Sociologie : « Les êtres humains ne sont jamais unis entre eux que par des déchirures ou des blessures ». D’autre part, l’idée que les œuvres d’art sont, depuis Lascaux, les traces d’une archéologie de la vie communautaire des hommes, le chiffre d’un non-savoir sur la sphère du sacré qui fait tenir les hommes ensemble, à travers quelques figures-limites (le cadavre, les larmes, l’orgie, le sacrifice). Ces deux intuitions me permettent de définir l’anthropologie figurative comme la discipline qui cherche dans les images une pensée figurale de la communauté, et le partage de la douleur dans le cinéma contemporain comme l’un de ses objets privilégiés. Les pensées contemporaines de la communauté (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) m’autorisent cette hypothèse : le cinéma contemporain a désormais moins affaire à la construction politique d’un peuple qu’à la figuration de communautés trouvant dans l’événement du partage leur seule fin. Or, seul un travail figural peut contrevenir à la solitude du corps souffrant et défaire sa clôture pour l’inclure dans un groupe pathétique qui synchronise des gestes ou assemble des chairs. Le corpus international de films que je constitue autour de la survivance de figures de la communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) ou d’une figuration chorégraphique du soin (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) relève d’un réalisme figuratif qui demande à être étudié non pas sous l’angle d’une politique de l’esthétique (Jacques Rancière), mais d’une impolitique de la beauté. Soit l’idée que l’art est ce lieu où la puissance du pâtir et la puissance du partage, sans faire une politique, autorisent l’espoir d’une communauté prochaine. / This work started with two crucial insights from Georges Bataille’s œuvre. On the one hand, Bataille formulated a law on the constitution of community in the Collège de Sociologie: “Human beings are only linked together by wrenches or wounds”. On the second hand, he elaborated the idea that works of art are, since Lascaux, the traces of an archaeology of men’s community life, the code of a “non-savoir” about the sacred sphere which ties men together thanks to some borderline figures (the corpse, the tears, the orgy, the sacrifice). These two ideas allow me to define figurative anthropology as the discipline that seeks a figural thought of community in images, and the sharing of pain as one of its privileged objects. Contemporary thoughts of community (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) allow me to state this hypothesis: contemporary cinema is not pertaining to the political construction of a people but to the figuration of communities which find in this very sharing their sole purpose. Only a figural work can contravene to the loneliness of a suffering body and break its closed isolation into include it in a pathetic group that synchronises gestures and assembles fleshes. The international corpus of films that I put together about the survival of figures of communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) or the choreographic figuration of care (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) comes under a figurative realism which has not to be studied from the point of view of the politics of aesthetics (Jacques Rancière), but of the impolitics of beauty: that is to say that art is the place where the capacity for suffering and sharing, without leading to a political construction, allows the hope of an imminent community.

This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.