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Abstract

This article aims to analyze the cinematographic work as a historical source through a critical-materialist perspective of contemporary culture. We will discusse its nature as an resulting objectification from many determinations of the ongoing process. This implies a theoretical-methodological conception that allows us to seize the filmic fact in its entirety in order to strengthen it as an investigation object of social reality. Its historicity is a central category to size it as a historical source in order to consider the complex of social relations envolved in the cinematographic work constitution in its techno-productive and aesthetic interconnection. Thus, we expose, briefly, some reflections about a critical-materialist approach of the filmic fact, both in its material production and in its aesthetic content. This let us to apprehend it by the abstract capacity that surpass the mere epistemology and semiotics of its constitution towards the socioeconomic and cultural context of its achievement.