Between the cinema images and melodies

outlines of the musical-cinematographic dispositive trough the animation soundtrack

Abstract

The discourse from the animation cinema has been performing a preponderant role in possible conducts that can be socially assumed, including self-care perspectives and subjectivation processes. The cinema is crossed, as well as the subject positions constituted nowadays, by power forces and knowledges which advocate different settings to the subjectivity production. In order to develop a discursive study about the forces and knowledges that set up the musicality in the cinematographic field, this study takes the theoretical assumptions from Michel Foucault, especially the concept of statement (FOUCAULT, 2008) and about the discursive dispositive (FOUCAULT, 2019), to analyze an enunciative series constituted by excerpts from two animation movies. From these semiological statements, being supported by discourse (NAVARRO, 2020; SARGENTIN, 2015) and musical field authors (CAZARIM, 2019; PASCHOAL, 2017), it was charted possible settings of what is entitled here musical-cinematographic dispositive. It is defended the existence of subjectivation processes manifested in the animation movies, mediated by the dispositive strategical fill, which is integrated in a network and can act directly in the individuals and discourses constitution.