ABSTRACT
This article outlines two movements. First, we combine the conceptual apparatus constructed by Gilles Deleuze with comments on the notions of field and framing by authors such as Bonitzer, Sabouraud, Oliveira Junior, and André Parente. Then, we elaborate the function of the Field in the movement-image and in the time-image, based on their relations with the virtual. Finally, we show how Certified Copy (Abbas Kiarostami, 2010Cópia fiel (2010), Abbas Kiarostami, França, Itália, China, Estados Unidos.), compared to the director’s previous films, points to another status of image, in which the visible is no longer organized in the form of a Field, but by a composition of lines of force.
KEYWORDS
Certified Copy
; Contemporary Cinema; Field; Abbas Kiarostami; Time-image