Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a373
M. Boumeester
This paper describes a research project that aims to contribute to the further development of a new tenet in the taxonomy of the image. Driven by the appearance of (the role of) images generated by new ideo-technological developments – set against an emerging awareness of the implications of the agency of the Anthropocene - this research will build upon the existing classifications of the image. This new type of image has qualities that do not fit into the current understanding of (or any classification) of the image, yet it is operating on our awareness daily. However, the goal is not to forefront the taxonomy as main mode of output, rather the emphasis should be on the interplay between the image and its setting that produces and is produced by its relational qualities. In order to understand the role and significance of this type of image in ‘the making of reality’ - with bifurcations into technology, ideology, inclusivity, empowerment and factuality - they need to be studied and classified in order for scholars and students to further their understanding of the agency arising from what is now provisional named: The “Image by Proxy”. A crucial key to develop an understanding of the workings of the Image by Proxy, is to instrumentalize our knowledge of the construction of cinema and extrapolate its premises to a level of population thinking. On this level, cinematographing perception implies that the creation of a reality includes both actualized and non-actualized components, that constantly act, intertwine, disrupt and otherwise modulate each other’s existence. This paper will examine how this construction of reality is produced in the imagescape, in which the journey to create the scape itself has bifurcations in both enlightened and mundane acts of codification, situation, commodification and signification, whilst its affects call for an expansion of our existing taxonomy of the image.
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Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a456
Fabiane Urquhart Duarte, Andreia Machado Oliveira
This work intends to explain about the temporal aspects and the appropriation of images of photosensitive materials already revealed, as a way to produce new cinematographic narratives and transformed images, using as a demonstration of time, the wear and tear of this photosensitive material through the process of deterioration and wear of the image. By contact with fungal organisms, arising from the non-maintenance of the photographic or filmic film, providing a new possibility of image, which is in a constant process of change, and the creation of a temporal poetics, called the poetics of time. We propose to investigate the “fungal image”, and its intervention in a biological way, contributing to the aesthetics of the film. The “fungal image” in slides and its development processes is treated, which permeate the analog + digital hybridization, which involves the rescue of old analog technologies and their resignification in the digital context.
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Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a402
Patrícia Cardoso D'Abreu, João Ximenes Braga
The Brazilian telenovela, as a work in progress, is built on the articulation of authorship and management of audience fluctuations. It is an important object of study to bethink the dynamics of television in certain historical moments. If Brazilian telenovelas are closely aligned with the contexts in which they are broadcast, to what extent do they mediate the perception of the country’s social, political and economic reality? This article is based on the hypothesis that certain interventions from executives in the plots results in the usurpation of authorship, especially at times when authoritarian postures tend to institutionalize. As these impositions implodes the foundations of a genre marked by authorial signature, our goal is to analyze the impacts on authorship when subtracted from its intertextuality and vision of the world. Our empirical object is the telenovela Babilônia (TV Globo, 2015), the last work by author Gilberto Braga (1945-2021) to be produced by Globo, in partnership with João Ximenes Braga and Ricardo Linhares, and which recorded the lowest 9pm slot audience rating ever. The concept-method to be used is that of communicational biography, which will guide the analysis through the articulation between different types of texts: the synopsis, the 80 chapters originally written compared to the chapters modified by imposition of the company’s management; autobiographical accounts; and the repercussion on specialized criticism.
作为一项正在进行的工作，巴西的肥皂剧建立在作者身份的清晰表达和对观众波动的管理之上。思考电视在特定历史时期的动态是一个重要的研究对象。如果巴西的电视剧与其播出的背景密切相关，那么它们在多大程度上调解了人们对该国社会、政治和经济现实的看法?这篇文章是基于这样一个假设，即在情节中，高管的某些干预导致了对作者身份的篡夺，尤其是在威权姿态趋于制度化的时候。由于这些强加的东西破坏了以作者签名为标志的体裁的基础，我们的目标是分析当从其互文性和世界视野中扣除时对作者身份的影响。我们的实证对象是电视剧Babilônia (TV Globo, 2015)，这是作家吉尔伯托·布拉加(1945-2021)的最后一部作品，由Globo与jo o Ximenes Braga和Ricardo Linhares合作制作，创下了晚上9点的最低收视率。要使用的概念方法是传播传记，它将通过不同类型文本之间的衔接来指导分析:摘要，原始编写的80章与公司管理强制修改的章节的比较;自传账户;以及对专业批评的影响。
{"title":"Biografia comunicacional e usurpação da autoria na televisão brasileira: um estudo de caso sobre Babilônia, última novela de Gilberto Braga","authors":"Patrícia Cardoso D'Abreu, João Ximenes Braga","doi":"10.37390/avancacinema.2022.a402","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a402","url":null,"abstract":"The Brazilian telenovela, as a work in progress, is built on the articulation of authorship and management of audience fluctuations. It is an important object of study to bethink the dynamics of television in certain historical moments. If Brazilian telenovelas are closely aligned with the contexts in which they are broadcast, to what extent do they mediate the perception of the country’s social, political and economic reality? This article is based on the hypothesis that certain interventions from executives in the plots results in the usurpation of authorship, especially at times when authoritarian postures tend to institutionalize. As these impositions implodes the foundations of a genre marked by authorial signature, our goal is to analyze the impacts on authorship when subtracted from its intertextuality and vision of the world. Our empirical object is the telenovela Babilônia (TV Globo, 2015), the last work by author Gilberto Braga (1945-2021) to be produced by Globo, in partnership with João Ximenes Braga and Ricardo Linhares, and which recorded the lowest 9pm slot audience rating ever. The concept-method to be used is that of communicational biography, which will guide the analysis through the articulation between different types of texts: the synopsis, the 80 chapters originally written compared to the chapters modified by imposition of the company’s management; autobiographical accounts; and the repercussion on specialized criticism.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134179921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This text seeks to both reflect and analyze the way in which contemporary Brazilian documentaries are articulated as political reinscription by means of certain aesthetic strategies, such as the graphic recurrence in the construction of narrative identities (RICOEUR, 2010) as a propelling instrument of subjectivities. Part of this effort in revisiting the past by crossing temporalities can be seen in films such as Portraits of Identification (2014) and I owe you a letter about Brazil (2019). Both productions show characters who have been part of the resistance to the authoritarian regime, demonstrating the specifics of the period, such as the experience of trauma, exile and the failure of revolutionary ideals. These documentaries resort to the written word of personal and historical archives, exposing excesses, contradictions, and submerged texts, which eventually interferes in the representation of the biographed subject, revealing characters whose identities become difficult to apprehend. Therefore, understanding the potential of writing requires a film analysis in fragments containing the material presence of the word and its thematic suggestion. These fragmentary constructions, naturally open to deviations, present themselves as a political reinscription as they approach silences, historical absences; not fixing identities but only reaching the subjects in what remains of them as a trace (DERRIDA, 2010). Such visualities are reconfigured from the filmic inscription engendered there, in what is lacking in them, since filming is also seeking the outside, that what escapes us, making distances and intervals visible (COMOLLI, 2007) - in an image to come.
{"title":"Imagens por vir: a reinscrição política no documentário Brasileiro contemporâneo.","authors":"Giulianna Nogueira Ronna, Cristiane Freitas Gutfreind","doi":"10.37390/avancacinema.2022.a408","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a408","url":null,"abstract":"This text seeks to both reflect and analyze the way in which contemporary Brazilian documentaries are articulated as political reinscription by means of certain aesthetic strategies, such as the graphic recurrence in the construction of narrative identities (RICOEUR, 2010) as a propelling instrument of subjectivities. Part of this effort in revisiting the past by crossing temporalities can be seen in films such as Portraits of Identification (2014) and I owe you a letter about Brazil (2019). Both productions show characters who have been part of the resistance to the authoritarian regime, demonstrating the specifics of the period, such as the experience of trauma, exile and the failure of revolutionary ideals. These documentaries resort to the written word of personal and historical archives, exposing excesses, contradictions, and submerged texts, which eventually interferes in the representation of the biographed subject, revealing characters whose identities become difficult to apprehend. Therefore, understanding the potential of writing requires a film analysis in fragments containing the material presence of the word and its thematic suggestion. These fragmentary constructions, naturally open to deviations, present themselves as a political reinscription as they approach silences, historical absences; not fixing identities but only reaching the subjects in what remains of them as a trace (DERRIDA, 2010). Such visualities are reconfigured from the filmic inscription engendered there, in what is lacking in them, since filming is also seeking the outside, that what escapes us, making distances and intervals visible (COMOLLI, 2007) - in an image to come.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134332950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a414
Julio Vallejo Herán
A character split into two bodies: the real Arthur Cravan, an eccentric character who moved in the intellectual and artistic circles of the first decades of the 20th century, and Frank Nicotra, the one in charge of interpreting him at the beginning of the second millennium. Both fighters and poets, although separated by decades of difference. Isaki LaCuesta offers a hybrid of documentary and fiction where Cravan’s character engulfs Nicotra’s until the line that separates one from the other is lost. This communication studies the strategies used by its director to achieve this symbiosis between the two main protagonists. The use of recreations of a past time to visualize the life of Oscar Wilde’s nephew in contemporary times to the making of the film and the maneuvers that Lacuesta follows to blur past and present not only in the main characters, but in the rest of the cast are the objective of this article. The forms of acting in this non-fiction film will also be studied according to the Thomas Waugh’s theories and it will be analyzed whether the characters are part of the borderline individuals typical of postmodern cinema that Gérard Imbert has studied.
{"title":"The confusion between person and character in Cravan vs Cravan (Lacuesta, 2002)","authors":"Julio Vallejo Herán","doi":"10.37390/avancacinema.2022.a414","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a414","url":null,"abstract":"A character split into two bodies: the real Arthur Cravan, an eccentric character who moved in the intellectual and artistic circles of the first decades of the 20th century, and Frank Nicotra, the one in charge of interpreting him at the beginning of the second millennium. Both fighters and poets, although separated by decades of difference. Isaki LaCuesta offers a hybrid of documentary and fiction where Cravan’s character engulfs Nicotra’s until the line that separates one from the other is lost. This communication studies the strategies used by its director to achieve this symbiosis between the two main protagonists. The use of recreations of a past time to visualize the life of Oscar Wilde’s nephew in contemporary times to the making of the film and the maneuvers that Lacuesta follows to blur past and present not only in the main characters, but in the rest of the cast are the objective of this article. The forms of acting in this non-fiction film will also be studied according to the Thomas Waugh’s theories and it will be analyzed whether the characters are part of the borderline individuals typical of postmodern cinema that Gérard Imbert has studied.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131517000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a388
Rodrigo Coelho Pierre Lira
The article intends to analyze the relations between literature, theater and cinema, through a filmic analysis of Pier Paolo Pasolini’s adaptation of Sofocles’ Oedipus Rex. The study is based on the concepts of Nachleben and Pathosformel, by Aby Warburg; and montage, according to Sergei Eisenstein, Philippe-Alain Michaud, Georges Didi-Huberman, Marcel Martin, Vincent Amiel, among others, associating their thoughts with Pasolini’s own personal writings on cinema’s language. The objective of the article is to understand how Pasolini absorbs the elements of Classical Antiquity and transforms them through the resources of the cinematographic language, in a dialogue between cinema and other arts.
{"title":"Imagens Sobreviventes: uma análise de Édipo Rei (1967), de Pier Paolo Pasolini","authors":"Rodrigo Coelho Pierre Lira","doi":"10.37390/avancacinema.2022.a388","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a388","url":null,"abstract":"The article intends to analyze the relations between literature, theater and cinema, through a filmic analysis of Pier Paolo Pasolini’s adaptation of Sofocles’ Oedipus Rex. The study is based on the concepts of Nachleben and Pathosformel, by Aby Warburg; and montage, according to Sergei Eisenstein, Philippe-Alain Michaud, Georges Didi-Huberman, Marcel Martin, Vincent Amiel, among others, associating their thoughts with Pasolini’s own personal writings on cinema’s language. The objective of the article is to understand how Pasolini absorbs the elements of Classical Antiquity and transforms them through the resources of the cinematographic language, in a dialogue between cinema and other arts.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128953055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a371
Carolina Duarte Gonçalves Ramos, M. Gonçalves
Walking in urban spaces as an artistic practice gains aesthetic value, revealing a sensorial component of the human experience in spaces, consequently adding to them a symbolic charge (Careri 2015). Cinema as a form of art has often aesthetically explored images of emblematic cities as a visual technique for the construction of narratives. The pace and movement of wandering through urban landscapes is the gear for the development of the plot and from this perspective, the concept of exploring the urban landscape through walking as an aesthetic practice of fruition can be seen as the skein thread that conducts the storyline, which is then explored through various visual frames attributing symbolic and artistic value to the scenes.In this sense, this paper aims to conceptually analyze the relationship between walking and different narratives as an aesthetic and symbolic central theme in the following films: “Before Sunrise” by Richard Linklater (USA-Austria, 1995), “Lost in Translation” by Sofia Coppola (USA-Japan, 2003) and “Passerby” by Eryk Rocha (Brazil, 2010). This movie choice seeks to contemplate different geographies and timeframes focused on walkability as a form of artistic expression over the urban landscape, where the narratives are constituted. Wandering through a city stands out as a pivotal element between the urban landscape and the film development through the director’s eyes.
{"title":"Narrativas cinematográficas através do caminhar pelas paisagens urbanas","authors":"Carolina Duarte Gonçalves Ramos, M. Gonçalves","doi":"10.37390/avancacinema.2022.a371","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a371","url":null,"abstract":"Walking in urban spaces as an artistic practice gains aesthetic value, revealing a sensorial component of the human experience in spaces, consequently adding to them a symbolic charge (Careri 2015). Cinema as a form of art has often aesthetically explored images of emblematic cities as a visual technique for the construction of narratives. The pace and movement of wandering through urban landscapes is the gear for the development of the plot and from this perspective, the concept of exploring the urban landscape through walking as an aesthetic practice of fruition can be seen as the skein thread that conducts the storyline, which is then explored through various visual frames attributing symbolic and artistic value to the scenes.In this sense, this paper aims to conceptually analyze the relationship between walking and different narratives as an aesthetic and symbolic central theme in the following films: “Before Sunrise” by Richard Linklater (USA-Austria, 1995), “Lost in Translation” by Sofia Coppola (USA-Japan, 2003) and “Passerby” by Eryk Rocha (Brazil, 2010). This movie choice seeks to contemplate different geographies and timeframes focused on walkability as a form of artistic expression over the urban landscape, where the narratives are constituted. Wandering through a city stands out as a pivotal element between the urban landscape and the film development through the director’s eyes.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124198768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a392
Leonardo Augusto de Jesus
The existence of a “cinema spirit”, a transcendent essence of movement-image, characterizes the hypermodernity (Lipovetsky e Serroy 2009). In a world simultaneously phagocytosed by cinema and cinephagic itself, the seventh art composes the imaginary of all humanity and integrates the aesthetic unconscious in the 21st century. In this context, cinema can be considered as a matritial form that is expressed in other practices and representations. The influence of film culture is also evidenced in the parades of samba schools in Rio de Janeiro: from metropolitan robots to superheroes, the show repeatedly presents multiple references - textual or visual - to cinema, and plays an important role in the consolidation and transmission of film memory in Brazil. This article proposes, therefore, a reflection on the relations of intertextuality between the parades of the samba schools of Rio de Janeiro and cinematography, in order to understand the various plans according to which the carnival image presents itself as a palimpsest (Genette 1989) of the cinematographic image.
“电影精神”的存在，即运动影像的超越性本质，是超现代性的特征(Lipovetsky e Serroy 2009)。在一个同时被电影吞噬和电影吞噬本身吞噬的世界里，第七艺术构成了全人类的想象，整合了21世纪的审美无意识。在这种背景下，电影可以被认为是一种物质形式，在其他实践和表现中得到表达。电影文化的影响也在里约热内卢桑巴舞学校的游行中得到证实:从都市机器人到超级英雄，该表演反复呈现了对电影的多重参考-文字或视觉-并在巴西电影记忆的巩固和传播中发挥了重要作用。因此，本文提出了对里约热内卢桑巴舞学校游行与电影之间互文性关系的反思，以了解狂欢节图像作为电影图像的重写本(Genette 1989)所呈现的各种计划。
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Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a464
Regis Frota Araújo
This text intends to show the relationship between Fyodor Dostoevsky’s literature, in the book “The brothers Karamazov” and Law and Psychoanalysis, based on concepts formulated by the Russian, in the construction of the character of the three brothers, participants in the plot of the murder of the father, as antecedents of the observations confirmed by Sigmund Freud. The jury debates – whether those in defense of Dimitri, accused of parricide, or the prosecution arguments – denote the close relationship between Fiodorian literature and the framework of Russian Law, predominant in the 19th century.
{"title":"Direito e psicanálise no livro de Dostoievski “Os irmãos Karamazóv”.","authors":"Regis Frota Araújo","doi":"10.37390/avancacinema.2022.a464","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a464","url":null,"abstract":"This text intends to show the relationship between Fyodor Dostoevsky’s literature, in the book “The brothers Karamazov” and Law and Psychoanalysis, based on concepts formulated by the Russian, in the construction of the character of the three brothers, participants in the plot of the murder of the father, as antecedents of the observations confirmed by Sigmund Freud. The jury debates – whether those in defense of Dimitri, accused of parricide, or the prosecution arguments – denote the close relationship between Fiodorian literature and the framework of Russian Law, predominant in the 19th century.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"229 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114320825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.37390/avancacinema.2022.a421
Cristian Avello Cancino
The Brazilian context of the last few years has reinforced Rudyard Kipling’s maxim: “The first casualty of war is the truth”. Later, Paul Virilio would correct the sentence by saying that war victimizes the “reality”. In these recent battles, in which the Brazilian State strives to suppress a series of rights conquered by native peoples, cinema and indigenous communication have revealed themselves as important tools (weapons) against the “machine for grinding worlds”, which is like the writer Ailton Krenak names this “entity” called Capitalism.We saw the emergence of a series of productions carried out and starring by indigenous people, which bring us an enormous renewal of narrative and aesthetic processes. It is as if it were a counter-anthropology or the reverse of the ethnographic film. When we occupy the artefacts of cinema, it is understood that indigenous films represent cameras-arrow that launch themselves into the world, helping to displace traditional notions about science, politics and philosophy, in the quest to expand the concept of Cosmopolitics, engendered by Isabelle Stengers and defended by authors such as Bruno Latour.
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