O cinema de Stanley Kubrick como «cinema do cérebro»: uma revisitação de Lolita, de Vladimir Nabokov

• Autores: Suzana Ramos
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 645-653
• Idioma: portugués
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• Resumen

  • In The Time-Image (Cinema 2) Gilles Deleuze distinguishes between two cinema genres: the intellectual cinemaof the brain and the physical cinema of the body, placing Stanley Kubrick in the first category. Both the cinema ofthe brain and the cinema of the body find their distinction somewhere, in a very variable source. However, thereisn’t necessarily less thought in the cinema of the body or less shock and violence in the cinema of the brain,and similarly there isn’t a greater emotional dimension in one genre as opposed to the other. The reason why thephilosopher categorizes Kubrick the way he does is mostly due to an issue of subject-matter, because in the work ofthe American director one witnesses the staging of the brain, as if it were possible to assert an identity between thebrain and the world. One can grasp quite clearly the relevance of such classification in films, such as 2001 – A SpaceOdyssey, A Clockwork Orange or The Shining, but the truth is that the concept of a «cinema of the brain» attachesitself - with more appropriateness and rather the body as reflections of the pains of the human soul. That is preciselythe case of Kubrick’s last work, Eyes Wide Shut, and even more so of Lolita, an adaptation of Vladimir Nabokov’smasterpiece, that portrays, above all, the chemical-matter that makes up this great novel – the mind of HumbertHumbert, the antihero that writes his own autobiographical narrative out of recollections, obsession and perversity.