Love passions, political passions
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Crítica Cultural (Online) |
Texto Completo: | https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/1195 |
Resumo: | This essay aims to take part in the studies on the prolific relations between cinema and nostalgia. I seek to discuss how a film by French director André Téchiné, Les roseaux sauvages (1994), addresses youth as a moment of intensification, openness and incertitude, by situating the dramas and conflicts of its characters within the context of 1962´s France, during the final moments of the Algerian war. Despite of the film’s subject and its potential autobiographic connotations, I argue that nostalgia here should be explored less in the authorial dimension than through its reassessment of cultural artifacts and also in its articulations between love, history and politics. Nostalgia is here understood as a complex structure of multiple superimposed temporalities in which the spectator is necessarily implied. In this sense, nostalgia involves an affective engagement and a subjective response that I make explicit. |
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Love passions, political passionsPaixões amorosas, paixões políticasCinemaNostalgiaYouthLovePoliticsCinemaNostalgiaJuventudeAmorPolíticaThis essay aims to take part in the studies on the prolific relations between cinema and nostalgia. I seek to discuss how a film by French director André Téchiné, Les roseaux sauvages (1994), addresses youth as a moment of intensification, openness and incertitude, by situating the dramas and conflicts of its characters within the context of 1962´s France, during the final moments of the Algerian war. Despite of the film’s subject and its potential autobiographic connotations, I argue that nostalgia here should be explored less in the authorial dimension than through its reassessment of cultural artifacts and also in its articulations between love, history and politics. Nostalgia is here understood as a complex structure of multiple superimposed temporalities in which the spectator is necessarily implied. In this sense, nostalgia involves an affective engagement and a subjective response that I make explicit.Este ensaio pretende tomar parte nos estudos sobre as prolíficas relações entre cinema e nostalgia. Nele, proponho discutir em que medida o filme Les roseaux sauvages (1994), do diretor francês André Téchiné, delineia a juventude como um momento de abertura, intensificação e incerteza, ao situar os dramas e conflitos de seus personagens no contexto da França de 1962, durante os últimos desdobramentos da guerra pela independência da Argélia. A despeito da temática do filme e de seus traços potencialmente autobiográficos, busco argumentar que a nostalgia deveria ser aqui explorada menos na dimensão autoral do que através da revisitação de artefatos culturais, bem como nas articulações propostas entre amor, história e política. A nostalgia constitui uma estrutura complexa de múltiplas temporalidades sobrepostas na qual o espectador está necessariamente implicado. Nesse sentido, ela envolve um engajamento afetivo e uma resposta subjetiva que busco explicitar.Universidade do Sul de Santa Catarina2012-12-12info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/119510.19177/rcc.v7e22012312-326Revista Crítica Cultural; v. 7 n. 2 (2012); 312-3261980-64931980-6493reponame:Crítica Cultural (Online)instname:Universidade do Sul de Santa Catarina (UNISUL)instacron:UNISULporhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/1195/987Ramalho, Fábioinfo:eu-repo/semantics/openAccess2016-09-30T20:26:16Zoai:portaldeperiodicos.animaeducacao.com.br:article/1195Revistahttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_CulturalPRIhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/oairamayana.lira@gmail.com1980-64931980-6493opendoar:2016-09-30T20:26:16Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)false |
dc.title.none.fl_str_mv |
Love passions, political passions Paixões amorosas, paixões políticas |
title |
Love passions, political passions |
spellingShingle |
Love passions, political passions Ramalho, Fábio Cinema Nostalgia Youth Love Politics Cinema Nostalgia Juventude Amor Política |
title_short |
Love passions, political passions |
title_full |
Love passions, political passions |
title_fullStr |
Love passions, political passions |
title_full_unstemmed |
Love passions, political passions |
title_sort |
Love passions, political passions |
author |
Ramalho, Fábio |
author_facet |
Ramalho, Fábio |
author_role |
author |
dc.contributor.author.fl_str_mv |
Ramalho, Fábio |
dc.subject.por.fl_str_mv |
Cinema Nostalgia Youth Love Politics Cinema Nostalgia Juventude Amor Política |
topic |
Cinema Nostalgia Youth Love Politics Cinema Nostalgia Juventude Amor Política |
description |
This essay aims to take part in the studies on the prolific relations between cinema and nostalgia. I seek to discuss how a film by French director André Téchiné, Les roseaux sauvages (1994), addresses youth as a moment of intensification, openness and incertitude, by situating the dramas and conflicts of its characters within the context of 1962´s France, during the final moments of the Algerian war. Despite of the film’s subject and its potential autobiographic connotations, I argue that nostalgia here should be explored less in the authorial dimension than through its reassessment of cultural artifacts and also in its articulations between love, history and politics. Nostalgia is here understood as a complex structure of multiple superimposed temporalities in which the spectator is necessarily implied. In this sense, nostalgia involves an affective engagement and a subjective response that I make explicit. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-12-12 |
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://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/1195 10.19177/rcc.v7e22012312-326 |
url |
https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/1195 |
identifier_str_mv |
10.19177/rcc.v7e22012312-326 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/1195/987 |
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 |
Universidade do Sul de Santa Catarina |
publisher.none.fl_str_mv |
Universidade do Sul de Santa Catarina |
dc.source.none.fl_str_mv |
Revista Crítica Cultural; v. 7 n. 2 (2012); 312-326 1980-6493 1980-6493 reponame:Crítica Cultural (Online) instname:Universidade do Sul de Santa Catarina (UNISUL) instacron:UNISUL |
instname_str |
Universidade do Sul de Santa Catarina (UNISUL) |
instacron_str |
UNISUL |
institution |
UNISUL |
reponame_str |
Crítica Cultural (Online) |
collection |
Crítica Cultural (Online) |
repository.name.fl_str_mv |
Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL) |
repository.mail.fl_str_mv |
ramayana.lira@gmail.com |
_version_ |
1800220552270446592 |