A objetificação do espectador: cinema, indústria cultural e semiformação.

Abstract

The cinema, discussed in this article, refers to the dimension of the films that are shown in movie theaters and/or in the various available means, through streaming platforms. Every film, or any expression of culture, has an educational potential, which does not mean that every film operates from a critical perspective, with the scope for the audience to broaden their conceptions of humanity, society. The vast majority of films, produced by mainstream cinema, aim only at reproducing the established social order. The aim of this article is to carry out a critical analysis of cinema, based on Theodor Adorno's theoretical assumptions. Therefore, it presents cinema from the perspective of Adorno's philosophy, in the context of academic research, and discusses the categories of "cultural industry" and "semi-formation" in the dialogue about cinema conceived as a commodity, and its impacts on the semi-formative process of the public/spectator/consumer. The cultural industry, a product of the dissemination of capitalism on culture, therefore promotes the impoverishment of the formative experience and education for the senses, making it impossible to carry out an analytical reading of social demands. In this sense, cinema ceases to exercise its formative potential, becoming a mere object of this scheme. This is exactly due to the agreement signed by the great directors of the film industry, who defend the technical and content unity, with the purpose of preventing the development of the spectator's reflective, creative and inventive capacity