Universalidade Ética e Singularidade Mobilizadora e Leitura de Imagens Cinematográficas.

Abstract

In this article, I analyze the movies Where is the Friend’s House?, by Abbas Kiarostami and Good Morning, by Yasujiro Ozu using the classical notions of image “purity” and “impurity”, in order to discuss ethical universalities and mobilizing singularities that tangentiate the cinematographic image. More than “pure” images, I here speak of images intersected by the aforementioned universalities and singularities as they deal with themes easily recognizable by us – not because they are “trivial” but because they both have an ethical appeal and invite a mobilizing gaze. These are themes, therefore, that summon us because they are intersected by a singularity that becomes, itself, ethical by the affirmation of a specific cinematographic aesthetics.