Political science and cinema, a model to assemble. The Four Hundred Blows (1958) by François Truffaut, Pierrot le Fou (1965) by Jean-Luc Godard. Cinema in the context of Political Science

Abstract

Historically, the film has not been an instrument or a system to analytically reflect about social sciences, and particularly about political science. Initially, social sciences thinkers went against considering fiction as alien to reality. The hegemonic presence of social sciences, specially the positivism era, turned cinema into something improperly scientific. Thus, judgments issued about it came, at first, from filmmakers, sometimes from spectators and, finally, from the newly come cinema critics. In other words, there was not yet a discourse of their own. However, narrative structures made visible by cinema encouraged emotional contributions linked to everyday life, and were not outside the social structure they represented: political imaginary and social interactions, forms of social control, micropolitics, among others would be analytical elements to establish relationships between political science and cinema.