A alien(ação), o contraste com a cri(ação) autoral e os modos de produção: uma análise de núcleos de significação imagéticos, no filme Tempos modernos

Abstract

The link between action, creation and alienation, in the interface with the modes of production, is investigated here in its processuality, through the artistic field. For that, we chose Chaplin's film Modern Times as a field of investigation, mediated by the assumptions of Historical and Dialectical Materialism, as well as by the methodology of Analysis of Nuclei of Meaning. Thus, we seek to develop a methodology for the analysis of imagery nuclei of meaning, which offer methodological coordinates for studies with images, in line with the of Socio-historical Psychology"s framework. A path that supported the construction of 4 nuclei of meaning, of imagetic origin, which address: the dialectical pair built between creative and alienated/strange characteristics of the action expressed in the film, as well as its contradictions and interdependencies; human suffering in dialogue with the processes of alienation presents at work; the technological arrangements im dialogue with the alienation/strangeness process; the category of time as a guide to reflect on the management of the process of alienation/strangeness expressed in the film im dialogue with the temporal dynamics. Imagetic nuclei that were built based on 9 analytical indicators: coordinates about time; the modernity of the time and the relationship with technological advances; the unforeseen as something unwanted; impacts of alienated/alienating modes of production; the (de)humanization of work; institutionalization of inadequacy; unemployment, collective organization and coping with suffering conditions; happiness and its determinants; the production of alienation in relation to alienated and alienating modes of production cre.a(c)tion. The indicators were developed from 38 emblematic scenes (pre-indicators) of characteristics that refer to processes of alienation/strangeness present in the investigated work. The categories Contrast, Author Linkage and Direction were developed as qualitative resources to investigate the contradictions present in the comparative analysis between processes of alienation/strangeness and an authorial relationship with the modes of production. With that, it enabled the investigation of a qualitative dynamic of the characteristics that make up the process of alienation/strangeness in the analyzed film. Human suffering, portrayed in the work, appears as a comic resource, built on the basis of comedy itself; suffering as an instrument of social criticism and capable of mobilizing a cathartic effect, which occurs in the relationship between contradictory and paradoxical, between form and contents of film. The technological and futuristic arrangements portrayed expand the film's perspective of timelessness, establishing reflective bridges about the emergence, permanence and changes of technical apparatus, to contemporary technological arrangements that organize fields of work, such as those linked to digital platforms of services provision. Finally, the temporality developed in Modern Times, contributes to an analysis of the rhythm, direction and speed that sustain the dynamics of alienation/strangeness, in a time proposed as modem. Both the chosen film work and the proposed methodological paths demonstrate the potential of an analysis of psychosocial aspects present in artistic/cultural manifestations, especially imagery resources. Finally, the meanings around the ways in which work is organized in the film studied, as well as its implications for processes of dehumanization and human exploitation, offer a critical perspective on the present, past and future of an illusion of modermity.