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Article
Affiliation(s)

University of Algarve, Portugal

ABSTRACT

In The Metaphysics of Love, Schopenhauer argues that love is a literary invention. For the philosopher, this feeling was a creation of men to mask the real desire. On the other hand, Nicolas Grimaldi, while analysing Marcel Proust’s work, enumerates a series of issues that strengthen Schopenhauer’s arguments. For Grimaldi, the writer explains the literary character of love in its work. Through the analysis of four films, from different cinematography, this work intends to explore the issue of the representation of love in the art of film. In an attempt to understand how film uses its formal and discursive resources to present or represent this feeling, this paper analyses films chosen on the basis of how they tell their love stories. Beginning with Gertrud whose motto, Omnia Love says it all. In The Woman Next Door, Truffaut reveals the paradox of love and pain. Wings of Desire speaks of love and redemption. More recently, Kiarostami offered his Certified Copy, a film that asks whether a copy can produce in us the same thrill of an original. If love is an invention of literature, this paper seeks to understand how such an invention is born, and what it consists in modern and contemporary cinema.

KEYWORDS

Cinema, love, philosophy, literature, society

Cite this paper

Sociology Study ISSN 2159-5526, September 2014, Volume 4, Number 9, 791-801

References

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