Charney and Schawartz (2004), the cinema did not supply a new simply half in which the elements of modernity could be elbowed, in contrast, it was product and contracting party of the interconnected 0 variable of modernity: technology mediated for visual and cognitiva stimulation; the reapresentao of the reality made possible for the technology; an urban, commercial, produced in mass and defined procedure as the capture of the continuous movement. Moreover, the cinema is half the most practical one to portray the time and the space through assemblies and cuts of scenes. The look in the cinema has one meaning very important, serves of mediator between the spectator and what he is projected. As it portraies Xavier (1988), the cinema propitiates in to see them the world and to be the safe one, to occupy the center without assuming incubencies. Modernity brought interest to the social theories of Georg Simmel, Siegried Kraucauer and Walter Benjamin, as Singer observes (2004), therefore had centered in the neurological conception of modernity, where the sensorial stimulatons are accented, characterized for decurrent the physical and percipient shocks of barulhos, traffics, signals of transit and preceding multitudes of modernity.
The increase of the anxiety in relation to the consequentes perigos of the modern life of traffic accidents, residential and professional had caused psychic and sensorial alterations of the modern man. Of this form, the cinema started to portray these sensations lived and intense correspondents the daily life. In accordance with Aumont (2004), the affection are revealed in the spectator through the emotions that nothing more are of what the feelings of love, hatred, clera and empatia. In a generalized manner, the emotions can be strong, positive, negative, representative of the real or imaginary life. The development of the verbal language also contributed for the blockage of the understanding of the full corporal language and the emotion expression passed to be considered a weakness signal, even with an apparent direction, therefore the strategies, cunnings and games stop to dominate the other they pass for the rationality (BOTURA, 2001).