Split Field Diopter: possibilities of generating tensivity in the filmography of filmmaker Brian De Palma during the 1980s in the Suspense Thriller genre.
Film stylistics. Movie theater. Art and communication. Aesthetic experience. Visual culture.
A low-researched in film and academia nowadays, the Split Field Diopter technique points out multiple possibilities for creating simultaneous narratives from the fusion of opposite poles of the screen in an illusory perception of a high depth of field. The present work aims to research, identify and analyse the application of the Split Field Diopter as a tensivity generator instrument (ZILBERBERG, 2011) from a clipping included in the genre Thriller of Suspense (DERRY, 1988) from the filmography of filmmaker Brian De Palma in the 1980s. For this, it is necessary to go through a bibliographical trajectory that crosses the historical and technological passage of the apparatus until the 1980s and the reverberations of the hitchcockian aesthetic in De Palma’s Suspense Thriller
genre. Recognising Brian De Palma’s stylistic and aesthetic contribution to the use of the apparatus, the dissertation launches an investigation into the tensive use of the Split Field Diopter in the film Dressed to Kill (1980), which allegorises the intensified use of the technique in the framing historical, based on a precise
film analysis crossed by a semiotic research model identified by authors such as Pietroforte (2021) in the plastic and narrative scope. This approach is expected to serve as a reference for those interested in the subject discussed and be useful in compiling books and articles on the subject.