Descrição
Quando pinta seus quadros, Tsai Ming-Liang se baseia no preciosismo estético que transforma cada plano em um bloco de sensações através das relações que estabelece entre o fluxo de cores, linhas, volumes, formas, intensidades e ritmos. Este texto analisa as imagens de The River, uma pintura em que Tsai Ming Liang radicaliza sua proposta estética de imagens-sensação que já havia apresentado diluída em outros trabalhos. Palavras-chave: Teoria da imagem; sensações; cinema oriental; Tsai Ming-Liang; Deleuze||When he “paints” his pictures, the moviemaker Tsai Ming Liang is based in an aesthetic preciousness that transforms each plan in a block of sensations. Through the relations he draws between color flows, lines, volumes, shapes, intensities and rhythms, the director invests in a new regime of images: sensation-images, which cognitive process flees reason and leads the spectator to a becoming-other . This text analyses the images of The River, a picture in which Tsai Ming Liang radicalizes his aesthetic proposal of the sensation-images, which were present in a more diluted way in his other works. The picture won 1995 Berlin Film Festival, and was exhibited in Tsai Ming Liang: The artist of time, film shows held in November / December 2010 in Rio and Sao Paulo. My theoretical basis is the philosophy of Gilles Deleuze, Felix Guattari and José Gil, besides specific bibliography on cinema.Key words: Theory of Image; Sensation; Cinema; Taiwan
