A estética da nostalgia na construção do discurso do Cine Passeio

Abstract

This research aims to discuss the Cine Passeio’s aesthetics of nostalgia, related to its construction of discourse and embodied visual structures–which is a movie theater located in Curitiba, founded in 2019, also maintained by Fundação Cultural de Curitiba (FCC). We develop a dialogue between the past and the contemporaneity by an analysis of meaning-producing events in its discourses, as from a nostalgic aesthetic experience, in order to examine its architectural and visual languages–this one from its communication resources. For that reason, we recognize paths to interactions and sense with nostalgia, in regard to symbolic relationships along the cultural use of collective memory and identity, between Cine Passeio and people, for the purpose of consumption of this place. The research is structured in three parts. Firstly, we developed a bibliographic investigation só as to recognize the nostalgic feeling from its epistemological origins, related to the conception of the word ‘nostalgia’ in the 17th century, its relationships with the modernity, and also its use in the social and cultural realms in the contemporary era, between the 20th and 21st centuries, together with discussions of the mass and aestheticized consumption. For that recognition, we used various theoretical frameworks from authors such as Marcos P. Natali, Zygmunt Bauman, Svetlana Boym, Ivone Gebara, Gilles Lipovestky and Jean Serroy. In the second place, we center on the correlation between nostalgia and the construction of meanings, with the goal of starting reflections on Cine Passeio as an urban-contextual language inscribed in the city. We consider semiosis relationships connecting the sensitive and intelligible dimensions, implied in the adoption of the Curitiba’s cultural past in the temporality of the present, establishing a Generative Process of Meaning. Therefore, we chose to employ different theoretical-methodological referentials from diverse semiotic theories, in the search of possible interrelationships with these authors: Lucrecia D’Alessio Ferrara, A. J. Greimas, Joseph Courtés, José Luiz Fiorin and Denis Bertrand. In conclusion, the third part encompasses an analysis regarding the nostalgic aesthetic experience in Cine Passeio, perceiving as its historical context, by means of a documentary research, about Curitiba and its movie theaters throughout the 20th and 21st centuries, as its constructive elements of meaning based on the sensitive interactions with this place. For that purpose, we embraced the theoretical framework from the Sociosemiotics by Eric Landowski–which is an expanded theory from the greimasian Discursive Semiotics. We endeavor to examine and identify potentialities related to sensitive trajectories of meaning, which involves interactions between the subjects and Cine Passeio, using the interactional regimes of programming, manipulation, adjustment and accident. Hence, this semiotic analysis is in the core of possible interconnections between the processes of reading and apprehension of such discourses susceptible to be experienced in the surroundings of Cine Passeio.