The Dark Side of the Screen – a resistance to the changing times
Autor(a) principal: | |
---|---|
Data de Publicação: | 2012 |
Tipo de documento: | Artigo de conferência |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10174/8235 |
Resumo: | Modern Times known as “the last of the great silent feature comedies” reflects Charlie Chaplin’s resistance to the changing times. Synchronous dialog was everywhere ascendant by the time of the film’s release, yet this picture contains mostly sound effects, synchronous music, and a pattern song with nonsense syllables. The Artist, Oscar winner for the best picture nominee in 2012, inherited this resistant spirit paying homage to some of the greatest silent films of the first two or three decades of cinema history. As a silent movie, it is screened in black and white and projected in the old-fashioned boxy Academy ratio, with its occasional lines of dialogue printed on intertitle cards. Its conceit is hardly revolutionary, because it has been done before, by Mel Brooks, in 1976’s Silent Movie. This same old fashion tendency continues in the so much acclaimed Portuguese movie, Tabu, by Miguel Gomes, awarded for opening new perspectives onto cinema, in spite of following the classic film traditions while subverting them with consistent narrative invention creating a lyrical immersion into colonialist metaphor and historical memory. Not to be confused with the F.W. Murnau movie of the same name, "Tabu" nonetheless borrows the expressionistic style of the earlier film's period, using luxurious black-and-white photography. What all these movies have in common is a desire to preserve the true essence of cinema showing what it really is and not only what it can do. All these directors believe that the best way to achieve this purpose is through a never changing power of that phantasmagoria so present in black and white movies, produced not only in the silent era but also in film noir by the lighting effects and camera angles that characterize the work of such major noir directors as Frtiz Lang, Billy Wilder and Orson Welles, who knew everything about the unutterable mysteries hidden in the dark side of the screen. |
id |
RCAP_a45074d337e6d206fd4c59788830e379 |
---|---|
oai_identifier_str |
oai:dspace.uevora.pt:10174/8235 |
network_acronym_str |
RCAP |
network_name_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository_id_str |
7160 |
spelling |
The Dark Side of the Screen – a resistance to the changing timesCinemaFilm-NoirDark SideSilent MoviesModern Times known as “the last of the great silent feature comedies” reflects Charlie Chaplin’s resistance to the changing times. Synchronous dialog was everywhere ascendant by the time of the film’s release, yet this picture contains mostly sound effects, synchronous music, and a pattern song with nonsense syllables. The Artist, Oscar winner for the best picture nominee in 2012, inherited this resistant spirit paying homage to some of the greatest silent films of the first two or three decades of cinema history. As a silent movie, it is screened in black and white and projected in the old-fashioned boxy Academy ratio, with its occasional lines of dialogue printed on intertitle cards. Its conceit is hardly revolutionary, because it has been done before, by Mel Brooks, in 1976’s Silent Movie. This same old fashion tendency continues in the so much acclaimed Portuguese movie, Tabu, by Miguel Gomes, awarded for opening new perspectives onto cinema, in spite of following the classic film traditions while subverting them with consistent narrative invention creating a lyrical immersion into colonialist metaphor and historical memory. Not to be confused with the F.W. Murnau movie of the same name, "Tabu" nonetheless borrows the expressionistic style of the earlier film's period, using luxurious black-and-white photography. What all these movies have in common is a desire to preserve the true essence of cinema showing what it really is and not only what it can do. All these directors believe that the best way to achieve this purpose is through a never changing power of that phantasmagoria so present in black and white movies, produced not only in the silent era but also in film noir by the lighting effects and camera angles that characterize the work of such major noir directors as Frtiz Lang, Billy Wilder and Orson Welles, who knew everything about the unutterable mysteries hidden in the dark side of the screen.Faculdade de Letras da Universidade de Lisboa2013-01-31T12:11:10Z2013-01-312012-11-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/conferenceObjecthttp://hdl.handle.net/10174/8235http://hdl.handle.net/10174/8235por“The Dark Side of the Screen – a resistance to the changing times” in Changing Times: Performances and Identities on Screen, Faculdade de Letras da Universidade de Lisboa, 7-9 Novembro de 2012.http://changingtimesconference.wordpress.com/simnaonaomal@uevora.pt296Lima, Maria Antóniainfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-01-03T18:48:19Zoai:dspace.uevora.pt:10174/8235Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:02:14.736543Repositório 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 |
The Dark Side of the Screen – a resistance to the changing times |
title |
The Dark Side of the Screen – a resistance to the changing times |
spellingShingle |
The Dark Side of the Screen – a resistance to the changing times Lima, Maria Antónia Cinema Film-Noir Dark Side Silent Movies |
title_short |
The Dark Side of the Screen – a resistance to the changing times |
title_full |
The Dark Side of the Screen – a resistance to the changing times |
title_fullStr |
The Dark Side of the Screen – a resistance to the changing times |
title_full_unstemmed |
The Dark Side of the Screen – a resistance to the changing times |
title_sort |
The Dark Side of the Screen – a resistance to the changing times |
author |
Lima, Maria Antónia |
author_facet |
Lima, Maria Antónia |
author_role |
author |
dc.contributor.author.fl_str_mv |
Lima, Maria Antónia |
dc.subject.por.fl_str_mv |
Cinema Film-Noir Dark Side Silent Movies |
topic |
Cinema Film-Noir Dark Side Silent Movies |
description |
Modern Times known as “the last of the great silent feature comedies” reflects Charlie Chaplin’s resistance to the changing times. Synchronous dialog was everywhere ascendant by the time of the film’s release, yet this picture contains mostly sound effects, synchronous music, and a pattern song with nonsense syllables. The Artist, Oscar winner for the best picture nominee in 2012, inherited this resistant spirit paying homage to some of the greatest silent films of the first two or three decades of cinema history. As a silent movie, it is screened in black and white and projected in the old-fashioned boxy Academy ratio, with its occasional lines of dialogue printed on intertitle cards. Its conceit is hardly revolutionary, because it has been done before, by Mel Brooks, in 1976’s Silent Movie. This same old fashion tendency continues in the so much acclaimed Portuguese movie, Tabu, by Miguel Gomes, awarded for opening new perspectives onto cinema, in spite of following the classic film traditions while subverting them with consistent narrative invention creating a lyrical immersion into colonialist metaphor and historical memory. Not to be confused with the F.W. Murnau movie of the same name, "Tabu" nonetheless borrows the expressionistic style of the earlier film's period, using luxurious black-and-white photography. What all these movies have in common is a desire to preserve the true essence of cinema showing what it really is and not only what it can do. All these directors believe that the best way to achieve this purpose is through a never changing power of that phantasmagoria so present in black and white movies, produced not only in the silent era but also in film noir by the lighting effects and camera angles that characterize the work of such major noir directors as Frtiz Lang, Billy Wilder and Orson Welles, who knew everything about the unutterable mysteries hidden in the dark side of the screen. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-11-01T00:00:00Z 2013-01-31T12:11:10Z 2013-01-31 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/conferenceObject |
format |
conferenceObject |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10174/8235 http://hdl.handle.net/10174/8235 |
url |
http://hdl.handle.net/10174/8235 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
“The Dark Side of the Screen – a resistance to the changing times” in Changing Times: Performances and Identities on Screen, Faculdade de Letras da Universidade de Lisboa, 7-9 Novembro de 2012. http://changingtimesconference.wordpress.com/ sim nao nao mal@uevora.pt 296 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.publisher.none.fl_str_mv |
Faculdade de Letras da Universidade de Lisboa |
publisher.none.fl_str_mv |
Faculdade de Letras da Universidade de Lisboa |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
repository.mail.fl_str_mv |
|
_version_ |
1799136506588168192 |