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The article focuses on what one might call a “fiction of analysis”: a narrative that concentrates on the investigation of an image or a set of images, which are examined through a curious, hyperbolic gaze, willing for optical intrigue and surprising discoveries. We will see how this form of gaze, typical of Western visual modernity, manifests itself in Tren de Sombras (Jose Luis Guerin, 2007), whose cinematographic precursors can be traced back to Blow Up (Michelangelo Antonioni, 1966) and The Hypothesis of the Stolen Painting (Raul Ruiz, 1978). The aim is to show how these films elaborate an experimental model for visual investigation and meta-filmic analysis.

Ficções de análise: detalhe, intriga visual e “arqueologia hermenêutica” em Tren de sombras (1997)