Operações de garantia da lei e da ordem: imagens de conflito, imagens em conflito

Abstract

The following research addresses the film Law and Order Guarantee Operations, by Júlia Murat and Miguel Augusto Ramos, from the perspective of the theories of montage. The main objective of this work is to understand the meanings given to the conflict in the film. To achieve this goal, we reviewed the theories of montage in contemporary technoculture with authors like Eisenstein (2002); Manovich (2001); Aumont (1995); Alabao (2014); Askanius (2015), among others. As a methodology, we use cartography (CANEVACCI, 1997) and image dissection. (KILPP, 2010). Among the main conclusions, we realized that the set of devices that are available today to imagine, that is: to produce, share, edit, return to use images that collide with the image model that corresponds to television technoculture. This technical reality dynamizes a cultural reality that puts the production of images of everyday issues as relevant: from breakfast to a manifestation, everything takes place between smartphones and interfaces. Although there is a permanent conflict between the characteristics of images institutionalized by television and the images produced by mobile devices, the constant clash that technoculture makes possible means that these images are repeatedly associated with certain senses. Thus, the following images were born: the reality image, the witness image, the body extension images, the urgency images present in the documentary as ways of updating the Eisenstein conflict.