Media and aesthetic boundaries in Twenty Years After (1964-1984)
Autor(a) principal: | |
---|---|
Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Galáxia (São Paulo) |
Texto Completo: | https://revistas.pucsp.br/index.php/galaxia/article/view/26905 |
Resumo: | This documentary performs an original combination of elements that were present in theater and film productions by the Students Union’s mobile cultural arm, the Culture Popular Center – CPC, and elements that would appear in director’s Eduardo Coutinho’s later work as a member of Globo Reporter (a rare in Brazil television incursion in documentary, that lasted roughly from 1973 to 1984). The film also brings elements of cinema vérité and direct cinema. To focus on the relations between these fragments shot in different moments in time, and in different places reveals potent intermedial relations, and helps to interpret the lm as an expression of the director’s critique of his own previous ways of lming. This paper traces connections between this re exive work, and his later experiments - a series of films that can be considered as parts of a conceptual investigation about lm as performance and interaction, and affect, in lieu of film as representation. |
id |
PUC_SP-8_c7064af28e58f2436ec5c204a5316254 |
---|---|
oai_identifier_str |
oai:ojs.pkp.sfu.ca:article/26905 |
network_acronym_str |
PUC_SP-8 |
network_name_str |
Galáxia (São Paulo) |
repository_id_str |
|
spelling |
Media and aesthetic boundaries in Twenty Years After (1964-1984)Fronteiras entre meios e formas em Cabra marcado para morrerdocumentarymoviestelevisionhistory.Documentário Arquivo EncenaçãoThis documentary performs an original combination of elements that were present in theater and film productions by the Students Union’s mobile cultural arm, the Culture Popular Center – CPC, and elements that would appear in director’s Eduardo Coutinho’s later work as a member of Globo Reporter (a rare in Brazil television incursion in documentary, that lasted roughly from 1973 to 1984). The film also brings elements of cinema vérité and direct cinema. To focus on the relations between these fragments shot in different moments in time, and in different places reveals potent intermedial relations, and helps to interpret the lm as an expression of the director’s critique of his own previous ways of lming. This paper traces connections between this re exive work, and his later experiments - a series of films that can be considered as parts of a conceptual investigation about lm as performance and interaction, and affect, in lieu of film as representation. O documentário Cabra marcado para morrer (1964-1984) apresenta uma combinação original de elementos oriundos da prática do Centro Popular de Cultura da União Nacional dos Estudantes (CPC da UNE) que produziu o filme, da experiência televisiva do diretor na equipe do Globo Repórter e da prática dos cinemas diretos. Identificar nos fragmentos de materiais lmados pelo CPC entre 1962 e 1964 em diversos locais do Nordeste e compilados com materiais filmados no início dos anos 1980 de maneira específica em 1984 no Rio de Janeiro revela imbricações interessantes entre agendas intermediáticas. Olhar essas relações em Cabra permite pensar o filme como expressão da autocrítica do cineasta em relação a formas pré-64 de filmar. Permite também discutir a obra documentária do cineasta como investigação sucessiva em torno do cinema como meio de expressão de relações de alteridade. Um cinema de investigação, de interação e de performance que privilegia o universo popular em busca de alternativas ao cinema de representação. PEPG COS-PUC-SP2017-03-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/26905Galaxia; No. 34 (2017)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 34 (2017)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/26905/22304Copyright (c) 2017 Galáxia. Revista do Programa de Pós-Graduação em Comunicação e Semiótica. ISSN 1982-2553info:eu-repo/semantics/openAccessHamburger, Esther Imperio2017-03-30T18:32:45Zoai:ojs.pkp.sfu.ca:article/26905Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2017-03-30T18:32:45Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
Media and aesthetic boundaries in Twenty Years After (1964-1984) Fronteiras entre meios e formas em Cabra marcado para morrer |
title |
Media and aesthetic boundaries in Twenty Years After (1964-1984) |
spellingShingle |
Media and aesthetic boundaries in Twenty Years After (1964-1984) Hamburger, Esther Imperio documentary movies television history. Documentário Arquivo Encenação |
title_short |
Media and aesthetic boundaries in Twenty Years After (1964-1984) |
title_full |
Media and aesthetic boundaries in Twenty Years After (1964-1984) |
title_fullStr |
Media and aesthetic boundaries in Twenty Years After (1964-1984) |
title_full_unstemmed |
Media and aesthetic boundaries in Twenty Years After (1964-1984) |
title_sort |
Media and aesthetic boundaries in Twenty Years After (1964-1984) |
author |
Hamburger, Esther Imperio |
author_facet |
Hamburger, Esther Imperio |
author_role |
author |
dc.contributor.author.fl_str_mv |
Hamburger, Esther Imperio |
dc.subject.por.fl_str_mv |
documentary movies television history. Documentário Arquivo Encenação |
topic |
documentary movies television history. Documentário Arquivo Encenação |
description |
This documentary performs an original combination of elements that were present in theater and film productions by the Students Union’s mobile cultural arm, the Culture Popular Center – CPC, and elements that would appear in director’s Eduardo Coutinho’s later work as a member of Globo Reporter (a rare in Brazil television incursion in documentary, that lasted roughly from 1973 to 1984). The film also brings elements of cinema vérité and direct cinema. To focus on the relations between these fragments shot in different moments in time, and in different places reveals potent intermedial relations, and helps to interpret the lm as an expression of the director’s critique of his own previous ways of lming. This paper traces connections between this re exive work, and his later experiments - a series of films that can be considered as parts of a conceptual investigation about lm as performance and interaction, and affect, in lieu of film as representation. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-03-30 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/26905 |
url |
https://revistas.pucsp.br/index.php/galaxia/article/view/26905 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/26905/22304 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
dc.source.none.fl_str_mv |
Galaxia; No. 34 (2017) GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 34 (2017) 1982-2553 reponame:Galáxia (São Paulo) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Galáxia (São Paulo) |
collection |
Galáxia (São Paulo) |
repository.name.fl_str_mv |
Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
cos@pucsp.br||aidarprado@gmail.com |
_version_ |
1799129330905776128 |