<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1200</journal-id>
<journal-title><![CDATA[Tópicos del Seminario]]></journal-title>
<abbrev-journal-title><![CDATA[Tóp. Sem]]></abbrev-journal-title>
<issn>1665-1200</issn>
<publisher>
<publisher-name><![CDATA[Benemérita Universidad Autónoma de Puebla, Seminario de Estudios de la Significación]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-12002023000200077</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El plano de la expresión pasional en el cine: análisis de la película Elena]]></article-title>
<article-title xml:lang="en"><![CDATA[The plane of Passional Expression in the Movie: Analysis of the film Elena]]></article-title>
<article-title xml:lang="fr"><![CDATA[Le plan d&#8217;expression passionnelle au cinéma : analyse du film Elena]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Lopes]]></surname>
<given-names><![CDATA[Joyce do Nascimento]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[González Ochoa]]></surname>
<given-names><![CDATA[César]]></given-names>
</name>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade de São Paulo  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<numero>50</numero>
<fpage>77</fpage>
<lpage>92</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-12002023000200077&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-12002023000200077&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-12002023000200077&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen A partir de la semiótica francesa, pretendemos analizar el plano expresivo de la película brasileña Elena (2012), dirigida por Petra Costa. Basada en hechos de la vida de la directora, la obra es una experiencia íntima y personal que materializa su relación con la memoria de su hermana, Elena, cuya historia estuvo marcada por un trágico hecho. El largometraje, entonces, revela un universo particular, construido a través de los afectos para generar ciertos efectos de sentido. Así, a lo largo de nuestro estudio, comprobamos cómo la afectividad, la pasión y la subjetividad impregnan la realización fílmica en su manifestación, y establecen un tono pasional que media las relaciones entre enunciador y enunciatario, que acerca estos actantes de la enunciación para movilizar afectivamente al espectador. Por lo tanto, nuestro objetivo es contribuir a la investigación analítica sobre el cine, que todavía provoca desafíos en el ámbito de las teorías del discurso.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Based on French semiotics, we aim to analyze the expression plane of the Brazilian film Elena (2012), directed by Petra Costa. Based on events from the director's life, the work is an intimate and personal experience that materializes her relationship with the memory of her sister, Elena, whose story was marked by a tragic event. The feature film, then, reveals a particular universe, built through affections to generate certain meaning effects. So, throughout our study, we verified how affectivity, passion and subjectivity permeate the filmic realization in its manifestation, establishing a passionate tone that mediates the relations between enunciator and enunciate, approaching these actants of the enunciation in order to affectively mobilize the viewer. Thus, we aim to contribute to analytical research on cinema, which still proves to be quite challenging in the scope of discourse theories.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé En nous appuyant sur la sémiotique française, nous nous proposons d'analyser le plan expressif du film brésilien Elena (2012), réalisé par Petra Costa. Basé sur des événements de la vie de la réalisatrice, le film est une expérience intime et personnelle qui matérialise sa relation avec la mémoire de sa s&#339;ur, Elena, dont l'histoire a été marquée par un événement tragique. Le long métrage révèle donc un univers particulier, construit par les affects pour générer certains effets de sens. Ainsi, tout au long de notre étude, nous avons vu comment l'affectivité, la passion et la subjectivité imprègnent le cinéma dans sa manifestation et établissent une tonalité passionnelle qui médiatise les relations entre énonciateur et énonciataire, rapprochant ces actants de l'énonciation afin de mobiliser affectivement le spectateur. Par conséquent, notre objectif est de contribuer à la recherche analytique sur le film, qui suscite encore des défis dans le domaine des théories du discours.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[semiótica francesa]]></kwd>
<kwd lng="es"><![CDATA[afectividad]]></kwd>
<kwd lng="es"><![CDATA[pasiones]]></kwd>
<kwd lng="es"><![CDATA[subjetividad]]></kwd>
<kwd lng="es"><![CDATA[enunciación]]></kwd>
<kwd lng="en"><![CDATA[french semiotics]]></kwd>
<kwd lng="en"><![CDATA[affectivity]]></kwd>
<kwd lng="en"><![CDATA[passions]]></kwd>
<kwd lng="en"><![CDATA[subjectivity]]></kwd>
<kwd lng="en"><![CDATA[enunciation]]></kwd>
<kwd lng="fr"><![CDATA[sémiotique française]]></kwd>
<kwd lng="fr"><![CDATA[affectivité]]></kwd>
<kwd lng="fr"><![CDATA[passions]]></kwd>
<kwd lng="fr"><![CDATA[subjectivité]]></kwd>
<kwd lng="fr"><![CDATA[énonciation]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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