Cinema & Território. Revista internacional de arte e antropologia das imagens

26-39

Authors: Maria Fernanda CAVASSANI & Miriam Cristina Carlos SILVA

This article is part of a larger research, which resulted in a master's thesis, in which we sought to understand the representations of contemporary femininity in the works of Brazilian filmmaker Laís Bodanzky. To do so, observations were made based on the methodologies of Narrative Analysis, proposed by Cândida Vilares Gancho (2006), and Filmic Analysis, proposed by Francis Vanoye and Anne Goliot-Lété (2012). In the present work, the cut is made from the analysis of the film Chega de Saudade (2007), with results that point to a narrative that discusses, in a poetic way, the aging of women. It is, finally, a contemporary work, with a psychological plot, which proposes the breaking of patriarchal and macho social paradigms, signaling the representation of a possible feminine, from the point of view of a woman filmmaker.

55-64

Authors: Ivo Di CAMARGO JUNIOR & João Vítor Zanato de Carvalho RIBEIRO

In view of Bakhtinian studies, we regard the filmic object as an important dialogical partner. Thus, when recognizing cinema as a discourse producer, film analysis appears as an element of relevance in contemporary society, since our contemporary societies are bombarded, daily, by eddies of images. In this way, we chose the film All about my mother, by spanish filmmaker Pedro Almodóvar, as the driving force behind reflections on gender, sexuality, and diversity. It is through otherness, which takes effect through the recognition of the filmic object as the Other with whom we dialogue, that such reflections find fertile soil to germinate.

76-87

Authors: Danusa de Oliveira JEREMIN & Elisângela de Jesus SANTOS

The objective of the article is to analyse two films centred on the history of lesbian women in different historical, economic, and social contexts: the Kenyan Rafiki (2018) and the American the world to come (2020). Both movies are viewed from the perspective of gender theory and have as background the documentary Celluloid Closet (1995), in order to analyse possible aesthetic and narrative changes in the subjectivity of women in contemporary cinema. We aim to make reflections from the changes perceived in the treatment of characters who historically were conceived as sexual perverts or framed through sexist-patriarchal stereotypes. We seek to understand the different ways in which the prominence of women directors, producers, writers, and spectators, by vocalizing new subjectivities in contemporary audiovisual, act to model new scenarios of representativity and representation. The issue is no longer about to break with ideals centred on male ideals, but the effort to create narratives that manage to speak from and through the most different views of the world, creating conditions for the representation of other social subjects to materialize narratives.

110-119

Authors: Renata de Oliveira RAMOS

The current article presents a few considerations regarding the conversation on the documentaries of Eduardo Coutinho and is a part of the Master’s thesis O Corpo Que Fala: A Conversa no Documentário de Eduardo Coutinho, defended on 2021. We bring up two of the conversations that compose the movie Songs (2011), emphasizing the centrality of the talking body on the constitution of the scenes. The conversation and the singing are analyzed as events that change the configurations of the force on the scene by triggering singular intensities that form, on the movie’s concreteness, an intense image that extrapolate and opens to the imponderable of the body.

135-150

Authors: Naiara Leonardo ARAÚJO

In this article, we will highlight the film Ajuricaba - the rebel of the Amazon, in order to reflect on how the indigenous Manaus and their mythical character Ajuricaba, as well as the landscapes of the Amazon and their embodied meanings, are represented in a narrative that alternates between the century XVIII and the present. By having its history recalled in the filmic narrative that connects with the present, the film highlights “certain historical continuities”, as announced by Shohat and Stam (2006), which we will seek to analyze. In the film, the representation of urban spaces in the Amazon and its relationship between the urban and the non-urban is also symbolic. These landscapes and their reproductions remain linked, according to Aumont (1995), to what is within the field and brings evidence of what is outside the field. These landscapes that are located within the field are no longer just images but acquire meanings and become imaginary, symbolic, and sensitive spaces (Martin, 2003). In this sense, both the landscapes of the Amazon and the character Ajuricaba become symbols no longer of a particular individual and specific space, but of every warrior who resists oppression, just as the Amazon resists with its natural riches.