Landscape in Cinema: Images to Think Time through Space
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.14591/aniki.v4n1.304 |
Resumo: | This text is an introduction to the special issue on ‘Landscape and Cinema’ published by Aniki. Portuguese Journal of the Moving Image. It is composed of a brief state of the art, which anchors this work within the bibliography on the subject, and a synthetic description of the discourses developed by the six papers included in the issue: the first one addresses the historical and aesthetic evolution of the background in the Russian and Soviet cinema of the first decades of the twentieth century; the second discusses the representation of the Portuguese landscape in Manuel Guimarães’ films; the third identifies a few cinematic techniques that work as conventions of psychological landscape film, such as juxtaposition and superimposition; the fourth interprets the meaning of Brazilian urban landscapes showed in the feature film A Vida Provisória (Maurício Gomes Leite, 1968); the fifth deals with the corporeal and conceptual relations between body, memory and landscape through a sensory reading of the films Ten Skies (James Benning, 2004) and Sin Peso (Cao Guimarães, 2007); and finally, the sixth undertakes a comparative analysis of three South American non-fiction works that show several waterscapes as places of memory: El botón de nácar (Patricio Guzmán, 2015), Los durmientes (Enrique Ramírez, 2015) and Las aguas del olvido (Jonathan Perel, 2013). The aim of this preliminary text is therefore to introduce the main contents of the issue and some of its conclusions. In this sense, it is necessary to emphasise the open and polysemic nature of landscape, which works, inside and outside cinema, as a palimpsest in which multiple meanings come together. For this reason, those films that depict, create and intervene in landscape allow to perceive, among other things, the overlapping of historical and subjective times that takes place in certain spaces. |
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Landscape in Cinema: Images to Think Time through SpaceA paisagem no cinema: imagens para pensar o tempo através do espaçoLandscapeTimeSpaceMemoryBackgroundPaisagemTempoEspaçoMemóriaFundoThis text is an introduction to the special issue on ‘Landscape and Cinema’ published by Aniki. Portuguese Journal of the Moving Image. It is composed of a brief state of the art, which anchors this work within the bibliography on the subject, and a synthetic description of the discourses developed by the six papers included in the issue: the first one addresses the historical and aesthetic evolution of the background in the Russian and Soviet cinema of the first decades of the twentieth century; the second discusses the representation of the Portuguese landscape in Manuel Guimarães’ films; the third identifies a few cinematic techniques that work as conventions of psychological landscape film, such as juxtaposition and superimposition; the fourth interprets the meaning of Brazilian urban landscapes showed in the feature film A Vida Provisória (Maurício Gomes Leite, 1968); the fifth deals with the corporeal and conceptual relations between body, memory and landscape through a sensory reading of the films Ten Skies (James Benning, 2004) and Sin Peso (Cao Guimarães, 2007); and finally, the sixth undertakes a comparative analysis of three South American non-fiction works that show several waterscapes as places of memory: El botón de nácar (Patricio Guzmán, 2015), Los durmientes (Enrique Ramírez, 2015) and Las aguas del olvido (Jonathan Perel, 2013). The aim of this preliminary text is therefore to introduce the main contents of the issue and some of its conclusions. In this sense, it is necessary to emphasise the open and polysemic nature of landscape, which works, inside and outside cinema, as a palimpsest in which multiple meanings come together. For this reason, those films that depict, create and intervene in landscape allow to perceive, among other things, the overlapping of historical and subjective times that takes place in certain spaces.O dossiê temático publicado no número 4.1. da Aniki. Revista Portuguesa da Imagem em Movimento intitula-se ‘Paisagem e Cinema’. O conteúdo da sua introdução corresponde, em primeiro lugar, a um breve estado da arte, que ancora este trabalho dentro da bibliografia sobre o tema e, em segundo lugar, a uma descrição sintética dos discursos desenvolvidos pelos seis artigos que compõem o dossiê: o primeiro estuda a evolução histórica e estética do fundo no cinema russo e soviético das primeiras décadas do século XX; o segundo analisa as representações da paisagem portuguesa na obra do cineasta Manuel Guimarães; o terceiro identifica determinadas técnicas que funcionam como figuras de estilo do psychological landscape film, como a justaposição ou a sobreposição; o quarto interpreta o significado das paisagens urbanas brasileiras que aparecem na longa-metragem A Vida Provisória (Maurício Gomes Leite, 1968); o quinto investiga as relações físicas e conceptuais entre o corpo, a memória e a paisagem através de uma leitura sensorial dos filmes Ten Skies (James Benning, 2004) e Sin Peso (Cao Guimarães, 2007); e, por último, o sexto propõe uma análise comparativa de três trabalhos sul-americanos de não-ficção que mostram distintas paisagens aquáticas como lugares de memória: El botón de nácar (Patricio Guzmán, 2015), Los durmientes (Enrique Ramírez, 2015) e Las aguas del olvido (Jonathan Perel, 2013). O objetivo deste texto preliminar é, portanto, apresentar os principais conteúdos do dossiê e adiantar alguma das suas conclusões. Neste sentido, convém salientar o caráter aberto e polissémico da paisagem, que funciona, dentro e fora do cinema, como um palimpsesto que acumula múltiplos significados. Por este motivo, o cinema que retrata, cria e intervém na paisagem permite perceber, entre outras coisas, a superposição de tempos históricos e subjetivos que se produz em determinados espaço.AIM - Associação de Investigadores da Imagem em Movimento2016-12-30info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.14591/aniki.v4n1.304https://doi.org/10.14591/aniki.v4n1.304Aniki: Portuguese Journal of the Moving Image; Vol 4 No 1 (2017): Landscape and cinema; 55-63Aniki: Revista Portuguesa da Imagem em Movimento; v. 4 n. 1 (2017): Paisagem e cinema; 55-632183-1750reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttp://aim.org.pt/ojs/index.php/revista/article/view/304http://aim.org.pt/ojs/index.php/revista/article/view/304/pdfRosário, FilipaVillarmea Álvarez, Iváninfo:eu-repo/semantics/openAccess2024-01-26T02:03:05Zoai:aim.org.pt/ojs/:article/304Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:57:14.503546Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Landscape in Cinema: Images to Think Time through Space A paisagem no cinema: imagens para pensar o tempo através do espaço |
title |
Landscape in Cinema: Images to Think Time through Space |
spellingShingle |
Landscape in Cinema: Images to Think Time through Space Rosário, Filipa Landscape Time Space Memory Background Paisagem Tempo Espaço Memória Fundo |
title_short |
Landscape in Cinema: Images to Think Time through Space |
title_full |
Landscape in Cinema: Images to Think Time through Space |
title_fullStr |
Landscape in Cinema: Images to Think Time through Space |
title_full_unstemmed |
Landscape in Cinema: Images to Think Time through Space |
title_sort |
Landscape in Cinema: Images to Think Time through Space |
author |
Rosário, Filipa |
author_facet |
Rosário, Filipa Villarmea Álvarez, Iván |
author_role |
author |
author2 |
Villarmea Álvarez, Iván |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Rosário, Filipa Villarmea Álvarez, Iván |
dc.subject.por.fl_str_mv |
Landscape Time Space Memory Background Paisagem Tempo Espaço Memória Fundo |
topic |
Landscape Time Space Memory Background Paisagem Tempo Espaço Memória Fundo |
description |
This text is an introduction to the special issue on ‘Landscape and Cinema’ published by Aniki. Portuguese Journal of the Moving Image. It is composed of a brief state of the art, which anchors this work within the bibliography on the subject, and a synthetic description of the discourses developed by the six papers included in the issue: the first one addresses the historical and aesthetic evolution of the background in the Russian and Soviet cinema of the first decades of the twentieth century; the second discusses the representation of the Portuguese landscape in Manuel Guimarães’ films; the third identifies a few cinematic techniques that work as conventions of psychological landscape film, such as juxtaposition and superimposition; the fourth interprets the meaning of Brazilian urban landscapes showed in the feature film A Vida Provisória (Maurício Gomes Leite, 1968); the fifth deals with the corporeal and conceptual relations between body, memory and landscape through a sensory reading of the films Ten Skies (James Benning, 2004) and Sin Peso (Cao Guimarães, 2007); and finally, the sixth undertakes a comparative analysis of three South American non-fiction works that show several waterscapes as places of memory: El botón de nácar (Patricio Guzmán, 2015), Los durmientes (Enrique Ramírez, 2015) and Las aguas del olvido (Jonathan Perel, 2013). The aim of this preliminary text is therefore to introduce the main contents of the issue and some of its conclusions. In this sense, it is necessary to emphasise the open and polysemic nature of landscape, which works, inside and outside cinema, as a palimpsest in which multiple meanings come together. For this reason, those films that depict, create and intervene in landscape allow to perceive, among other things, the overlapping of historical and subjective times that takes place in certain spaces. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-12-30 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.14591/aniki.v4n1.304 https://doi.org/10.14591/aniki.v4n1.304 |
url |
https://doi.org/10.14591/aniki.v4n1.304 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
http://aim.org.pt/ojs/index.php/revista/article/view/304 http://aim.org.pt/ojs/index.php/revista/article/view/304/pdf |
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info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
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application/pdf |
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AIM - Associação de Investigadores da Imagem em Movimento |
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AIM - Associação de Investigadores da Imagem em Movimento |
dc.source.none.fl_str_mv |
Aniki: Portuguese Journal of the Moving Image; Vol 4 No 1 (2017): Landscape and cinema; 55-63 Aniki: Revista Portuguesa da Imagem em Movimento; v. 4 n. 1 (2017): Paisagem e cinema; 55-63 2183-1750 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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