Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.33095
Franco Santos Alves da Silva
Pink Floyd The Wall is a British film released in 1982. Directed by Alan Parker, with script by bassist Roger Waters and animations by Gerald Scarfe. The feature film is based on the conceptual disc The Wall (1979), It is a dystopic narrative with surrealist features. Whose script is about the journey of Pink, a rock star who has to deal with several metaphorical and real walls that life has imposed on him: one present full of loneliness, drugs and a turbulent marriage. The past marked by an overprotective mother, a father killed in the war and an oppressive school. The article makes a theoretical approach between historiography, such as Marc Ferro, Rafael Hagemeyer and Michele Lagny and cinema, especially cinematographic language and animation, such as David Bordewell, Kristin Thompson, Jacques Autont, Michel Marie, Eduardo Penuela Canizal, Maria Prammaggiore and Tom Wallis.
{"title":"Pink Floyd ”“ The Wall","authors":"Franco Santos Alves da Silva","doi":"10.26512/EMTEMPOS.V1I37.33095","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.33095","url":null,"abstract":"Pink Floyd The Wall is a British film released in 1982. Directed by Alan Parker, with script by bassist Roger Waters and animations by Gerald Scarfe. The feature film is based on the conceptual disc The Wall (1979), It is a dystopic narrative with surrealist features. Whose script is about the journey of Pink, a rock star who has to deal with several metaphorical and real walls that life has imposed on him: one present full of loneliness, drugs and a turbulent marriage. The past marked by an overprotective mother, a father killed in the war and an oppressive school. The article makes a theoretical approach between historiography, such as Marc Ferro, Rafael Hagemeyer and Michele Lagny and cinema, especially cinematographic language and animation, such as David Bordewell, Kristin Thompson, Jacques Autont, Michel Marie, Eduardo Penuela Canizal, Maria Prammaggiore and Tom Wallis.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41608727","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.32803
Vinícius Pinto Gomes
This article intends to analyze the film Emitai (1971), directed by Sembene Ousmane from a dialog with post-colonial and decolonial studies, starting from an African perspective on events. Therefore, we will use the film analysis, articulating the cinematographic narrative with interviews of the director, besides the analysis of the posters produced for the international festivals where the film was screened. The story of the movie narrates the resistance of a Diola village in southern Senegal against French colonialism, so, we bring the category of emancipation to discuss the policies proposed by Sembene and how it is done in his film narrative. Director and screenwriter Sembene Ousmane is considered one of the main film-makers of African cinema, serving as influence to several later generations of artists and politicians, both inside and outside the African continent
{"title":"Colonialidade e a Emancipação no filme Emitai de Sembène Ousmane (Senegal, Anos 1970)","authors":"Vinícius Pinto Gomes","doi":"10.26512/EMTEMPOS.V1I37.32803","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.32803","url":null,"abstract":"This article intends to analyze the film Emitai (1971), directed by Sembene Ousmane from a dialog with post-colonial and decolonial studies, starting from an African perspective on events. Therefore, we will use the film analysis, articulating the cinematographic narrative with interviews of the director, besides the analysis of the posters produced for the international festivals where the film was screened. The story of the movie narrates the resistance of a Diola village in southern Senegal against French colonialism, so, we bring the category of emancipation to discuss the policies proposed by Sembene and how it is done in his film narrative. Director and screenwriter Sembene Ousmane is considered one of the main film-makers of African cinema, serving as influence to several later generations of artists and politicians, both inside and outside the African continent","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45153871","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34169
Hellen Silvia Marques Gonçalves
This paper analyses Ingmar Bergman's movie Crisis (1945), mainly focusing on the party scene as a conflict point of the narrative, during which the jazz music can be seen as the catalysis to a greek tragedy, as stated by Friedrich Nietzsche, amongst the involved characters. The hypothesis here discussed is that the Swedish filmmaker writes Jack as a dionysiac personification; and the teenage Nelly as the symbol of apollonian values. During the party, passion unites these characters in a subtle but powerful way, unleashing the plot, whereas jazz acts as the main element of the scene.
{"title":"Jazz como Elemento Catalisador da Tragédia Grega, segundo Friedrich Nietzsche, no Filme Crise (1945) de Ingmar Bergman","authors":"Hellen Silvia Marques Gonçalves","doi":"10.26512/EMTEMPOS.V1I37.34169","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34169","url":null,"abstract":"This paper analyses Ingmar Bergman's movie Crisis (1945), mainly focusing on the party scene as a conflict point of the narrative, during which the jazz music can be seen as the catalysis to a greek tragedy, as stated by Friedrich Nietzsche, amongst the involved characters. The hypothesis here discussed is that the Swedish filmmaker writes Jack as a dionysiac personification; and the teenage Nelly as the symbol of apollonian values. During the party, passion unites these characters in a subtle but powerful way, unleashing the plot, whereas jazz acts as the main element of the scene.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48072789","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34086
R. Mendonça, S. Braga
The article discusses the ambiguity as a constituent element of the artistic field, whether in its relations with power or with the market. For this, we used as a starting point the making of the documentary “Amazonas, Amazonas” directed by filmmaker Glauber Rocha (1939-1981) commissioned by the government of Amazonas in the mid-1960s. Based on documentary sources and In conjunction with ideas by Karl Mannheim and Pierre Bourdieu, we analyze the tensions that emerge around this film, still little known in the face of the celebrated filmography of one of the exponents of the New Cinema movement.
{"title":"Glauber Rocha e a autonomia relativa do campo artístico","authors":"R. Mendonça, S. Braga","doi":"10.26512/EMTEMPOS.V1I37.34086","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34086","url":null,"abstract":"The article discusses the ambiguity as a constituent element of the artistic field, whether in its relations with power or with the market. For this, we used as a starting point the making of the documentary “Amazonas, Amazonas” directed by filmmaker Glauber Rocha (1939-1981) commissioned by the government of Amazonas in the mid-1960s. Based on documentary sources and In conjunction with ideas by Karl Mannheim and Pierre Bourdieu, we analyze the tensions that emerge around this film, still little known in the face of the celebrated filmography of one of the exponents of the New Cinema movement.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42060663","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34245
R. Nascimento
This article examines the representations of the African continent in Cinema through the films Hotel Rwanda (2004) and The Last King of Scotland (2006). An analysis is proposed from the decolonial studies in order to observe the presuppositions in which these representations are anchored, emphasizing their conditions of production. It is therefore a question of understanding confluences as to the images and places attributed to the populations of the African continent, unraveling historical and cultural connections. On the other hand, the aim is also to understand the variability and divergences in the way of continent is portrayed in the films in question, paying attention to the emphases of each filmmaker.
{"title":"Representações do Continente Africano nas Telas do Cinema Hollywoodiano","authors":"R. Nascimento","doi":"10.26512/EMTEMPOS.V1I37.34245","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34245","url":null,"abstract":"This article examines the representations of the African continent in Cinema through the films Hotel Rwanda (2004) and The Last King of Scotland (2006). An analysis is proposed from the decolonial studies in order to observe the presuppositions in which these representations are anchored, emphasizing their conditions of production. It is therefore a question of understanding confluences as to the images and places attributed to the populations of the African continent, unraveling historical and cultural connections. On the other hand, the aim is also to understand the variability and divergences in the way of continent is portrayed in the films in question, paying attention to the emphases of each filmmaker.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48973169","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.31456
Ramiro Paim Trindade Junior
Here we seek to discuss the representations of the main characters of the movie “Excalibur, A Espada do Poder” (Excalibur, 1981, John Boorman), in order to identify the discourse that they carry, and elucidate how these figures were adapted by the 1980s and what this can tell us about the context in which they are inserted. In addition, we also work with the concepts of Medievalities and Medieval Reminiscences, in order to highlight how the Middle Ages were portrayed in our source. In that sense, we used the 15th century book entitled “The Death of Arthur”, the basis of the film's script, in order to make clear the choices made in the film adaptation. Because of that, we realized that the 1981 film presents a very clear exaltation of the male characters, who even have their negative attitudes relieved and, at the same time, a depreciation of the female protagonists, relegated to roles with few lines and caricatured images. These aspects reflect its historical period, marked by conservative and reactionary views, as we will explain below.
在这里，我们试图讨论电影《王者之剑》(Excalibur, A Espada do Poder, 1981, John Boorman)中主要人物的表现，以确定他们所携带的话语，并阐明这些人物在20世纪80年代是如何被改编的，以及这可以告诉我们他们被插入的背景。此外，我们还研究了中世纪和中世纪回忆的概念，以突出中世纪在我们的资料中是如何被描绘的。从这个意义上说，我们使用了15世纪的一本名为《亚瑟之死》的书，作为电影剧本的基础，以便明确电影改编中的选择。正因为如此，我们意识到1981年的这部电影对男性角色表现出了非常明显的提升，他们的负面态度甚至得到了缓解，同时，对女性主角的贬低，被降级为台词很少、形象拙劣的角色。这些方面反映了它的历史时期，以保守和反动的观点为标志，我们将在下面解释。
{"title":"Conservadorismo no Cinema dos anos 1980","authors":"Ramiro Paim Trindade Junior","doi":"10.26512/EMTEMPOS.V1I37.31456","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.31456","url":null,"abstract":"Here we seek to discuss the representations of the main characters of the movie “Excalibur, A Espada do Poder” (Excalibur, 1981, John Boorman), in order to identify the discourse that they carry, and elucidate how these figures were adapted by the 1980s and what this can tell us about the context in which they are inserted. In addition, we also work with the concepts of Medievalities and Medieval Reminiscences, in order to highlight how the Middle Ages were portrayed in our source. In that sense, we used the 15th century book entitled “The Death of Arthur”, the basis of the film's script, in order to make clear the choices made in the film adaptation. Because of that, we realized that the 1981 film presents a very clear exaltation of the male characters, who even have their negative attitudes relieved and, at the same time, a depreciation of the female protagonists, relegated to roles with few lines and caricatured images. These aspects reflect its historical period, marked by conservative and reactionary views, as we will explain below.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43073291","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34174
Isadora Dutra de Freitas
The relation between Cinema and History promoted a double advance in the historiographic field. With an extensive variety of productions, it allowed analyzes of primary sources or new objects of study. Moreover, research in audiovisual collections also contributes to the constitution of an interface between Cultural and Political History. Thus, the central objective of this article is to analyze the political uses of newsreels in Brazil from a historical perspective. Forming the first vehicle for audiovisual information, cinejournalism revolutionized the media. However, as it became more popular, it also became an important tool of political propaganda. Even so, it constitutes a theme still little explored by historiography. For this reason, this article consists of a reunion of the main historiographical productions that used this object as a source of analysis.
{"title":"Cinejornalismo em perspectiva histórica","authors":"Isadora Dutra de Freitas","doi":"10.26512/EMTEMPOS.V1I37.34174","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34174","url":null,"abstract":"The relation between Cinema and History promoted a double advance in the historiographic field. With an extensive variety of productions, it allowed analyzes of primary sources or new objects of study. Moreover, research in audiovisual collections also contributes to the constitution of an interface between Cultural and Political History. Thus, the central objective of this article is to analyze the political uses of newsreels in Brazil from a historical perspective. Forming the first vehicle for audiovisual information, cinejournalism revolutionized the media. However, as it became more popular, it also became an important tool of political propaganda. Even so, it constitutes a theme still little explored by historiography. For this reason, this article consists of a reunion of the main historiographical productions that used this object as a source of analysis.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42610554","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34230
Barbara Mangueira do Nascimento
This article proposes to relate the analysis of the film Videograms of a Revolution (1992), by Harun Farocki and Andrei Ujică, with the discussion present in the works of Jacques Ranciere and Georges Didi-Huberman on the relationship between image, montage and history. Both authors, each in their own way, mobilize the idea that the montage operations made with the images make it possible to elaborate discourses on history, as well as to problematize notions of historical time. The film chosen for this analysis, made from a compilation of records of the events that led to the fall of the communist regime in Romania, is permeated by elements pertinent to the debate, above all by the emphasis on the role of technical images in this process.
{"title":"Imagem, montagem e história em Videogramas de uma Revolução de Harun Farocki e Andrei Ujică","authors":"Barbara Mangueira do Nascimento","doi":"10.26512/EMTEMPOS.V1I37.34230","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34230","url":null,"abstract":"This article proposes to relate the analysis of the film Videograms of a Revolution (1992), by Harun Farocki and Andrei Ujică, with the discussion present in the works of Jacques Ranciere and Georges Didi-Huberman on the relationship between image, montage and history. Both authors, each in their own way, mobilize the idea that the montage operations made with the images make it possible to elaborate discourses on history, as well as to problematize notions of historical time. The film chosen for this analysis, made from a compilation of records of the events that led to the fall of the communist regime in Romania, is permeated by elements pertinent to the debate, above all by the emphasis on the role of technical images in this process.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46963878","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34236
Cristiane de Assis Portela, Anna Lorena Morais Silva
The text analyses the historical narrative of the movie Romance do Vaqueiro Voador, by Manfredo Caldas (2007), that reminds of the construction of the new capital from the viewpoint of the workers who built it. The film consists of a poetic documentary, based in the homonymous cordel-poem, by Joao Bosco Bezerra Bonfim. We compared the movie with the speeches made by Juscelino Kubitschek - JK in 1960 and during the celebrations of May 1st, 1959, registered in newsreel Brasilia no16 from NOVACAP. JK's narratives are very widespread and they are in collections of public and private archives, whereas the reports of the workers are not well known yet, which demonstrates that those voices were silenced in a cyclical process of social and historical stigmatisation and invisibility . Therefore, in Romance do Vaqueiro Voador, there is a contrast of the speeches that became hegemonic about Distrito Federal.
本文分析了曼弗雷多·卡尔达斯（Manfredo Caldas）（2007）的电影《瓦奎罗·沃多尔的浪漫史》（Romance do Vaqueiro Voador）的历史叙事，该片从建造新首都的工人的角度提醒人们新首都的建设。我们将这部电影与Jucelino Kubitschek-JK在1960年和1959年5月1日的庆祝活动中发表的演讲进行了比较，这些演讲在NOVACAP的新闻短片《巴西利亚16号》中登记。JK的叙述非常广泛，它们收藏在公共和私人档案中，而工人们的报告还不为人所知，这表明这些声音在社会和历史污名化和隐形的循环过程中被压制了。因此，在《瓦奎罗·沃多尔浪漫史》中，有一种对比，即关于Distrito Federal的霸权言论。
{"title":"Enunciando Contra-Hegemonias","authors":"Cristiane de Assis Portela, Anna Lorena Morais Silva","doi":"10.26512/EMTEMPOS.V1I37.34236","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34236","url":null,"abstract":"The text analyses the historical narrative of the movie Romance do Vaqueiro Voador, by Manfredo Caldas (2007), that reminds of the construction of the new capital from the viewpoint of the workers who built it. The film consists of a poetic documentary, based in the homonymous cordel-poem, by Joao Bosco Bezerra Bonfim. We compared the movie with the speeches made by Juscelino Kubitschek - JK in 1960 and during the celebrations of May 1st, 1959, registered in newsreel Brasilia no16 from NOVACAP. JK's narratives are very widespread and they are in collections of public and private archives, whereas the reports of the workers are not well known yet, which demonstrates that those voices were silenced in a cyclical process of social and historical stigmatisation and invisibility . Therefore, in Romance do Vaqueiro Voador, there is a contrast of the speeches that became hegemonic about Distrito Federal.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49312217","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 : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.35413
Â. Teles
não se aplica.
它不适用。
{"title":"Apresentação do Dossiê História & Cinema","authors":"Â. Teles","doi":"10.26512/EMTEMPOS.V1I37.35413","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.35413","url":null,"abstract":"não se aplica.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41631311","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}
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