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

8-23

Authors: Mariana ESTRELA & Fernando CORREIA

This article aims to reflect on the potential of pedagogical proposals developed in kindergarten (JI) with the use of images and videos, projected through augmented reality. The JI is a rich place for fundamental learning for children, who naturally have an attraction for these resources and technologies, being an inexhaustible source of knowledge. In this light, and within the scope of the Group Pedagogical Project on Literacy at the JI, developed a scientific and technological experience that highlighted the children's skills at this level, as well as promoted new and diverse learning through their active participation. It is very important that educators plan their pedagogical practice in an innovative and creative way, in this specific case, with the use of images and videos, making the most of their dynamism and interactivity to design learning situations, where the child's agency prevails. This proposal is documented in photographs and video, it was shared with the educational community, namely with the children's relatives, who enjoyed cinematographic sessions at the JI and in their family context, where children are the main characters.

37-49

Authors: Gabriela Kvacek BETELLA

Our path has chosen films capable of punctuating the discussion about material difficulty and resilience in extreme situations imposed on citizens in spaces significantly modified by new working and survival conditions. We start from the narrative choices of Italian cinema, with Gianni Amelio and his problematization of migrations to reach the experimental meaning in the documentary by Gianfranco Rosi, skilled in reviewing the Roman periphery to bring the excluded life to the foreground. Chloé Zhao profits from Jessica Bruder's book and directs the film that updates the anthropological and audiovisual dimensions through individuals erased from civil existence. Like Sacro GRA, Nomadland tells stories of people forced to occupy uninhabitable territories in their own country. Emphasizing original sequences through immanent analysis we investigate how the concepts of territory and space are overturned by the composition of the films. The approaches ask for new ways of filming and request from the spectator an urgent review of political, economic, and social concepts as well as a renewal of the outlook at the films in order to visualize in depth the spaces occupied by the invisible, the limits and the ways of overstepping the working conditions in the stories and in the shooting itself.

72-87

Authors: Tatiana Brandão de ARAUJO

One of the characters portrayed by the American cinema since its beginning is the man who wanders aimlessly and rootlessly through the country’s landscape. Even though exploitation of the inhospitable landscape of the West is a constant in Western movies, the urban context poses other questions and challenges to this character. In the years after the Second World War, many stories focused on the difficulties faced by those who had been to the war to adapt to civil life. This theme, which was approached in different ways, is present in film noir of the period, but not limited to it. Even without asserting that the character is a veteran, movies in general have protagonists that are rootless, desperate and in search for something. Based on the movie Detour (1945) directed by Edgar Ulmer, this text debates these characters and challenges that they face in places which, unlike the West, are neither a world of possibilities nor the representation of freedom. In noir, these men feel imprisoned even when they catch a glimpse of the West. In the light of some authors, such as Frank Krutnik (1991), Mike Chopra-Gant (2006) and Michael Kimmel (2005), I have problematized this theme, which may still be found in current cultural representations.

93-98

Authors: Jaqueline Castilho MACHUCA

Directed by Maggie Gyllenhaal, the movie The lost daughter, adapted from homonymous novel written by Elena Ferrante, narrates Leda´s vacation, a College Professor who questions her own maternity when she gets in touch with a young mother and her daughter. Inside an uncomfortable game of mirrors, the protagonist dives into her past, gradually exposing her biography, surprising the spectator with family revelations. This review proposal is to analyse the film in the key of otherness and discuss the characters motivations from the meeting and the generations conflict, especially regarding to motherhood ambivalences perspective. Topics such as aging, female sexual freedom, marriage, emerge from the cinematographic narrative, released in 2021, and starring Olivia Colman. One of the goals is to examine the film using the book The second sex, by Simone de Beauvoir (2019), for whom a woman is not born a woman, she becomes a woman, since the social pressures and the adjustments demanded by the patriarchal configuration delineate the feminine.

121-156

Authors: Filipa VENÂNCIO

Filipa Venâncio often resorts in her painting work, to the representation of architectural spaces, alternating between the observed house from the outside and interior views. Observing the sequential construction of painting (series), it is possible to observe strategies that approach the language of cinema. This aspect is emphasized in the construction of the visual narrative that is often proposed or simply hinted at, through the presentation of pictorial sets in travellings or in panoramics, as if it were a story board. The painting itself is sometimes developed from photographys and films. Other times it suggests the invention of scenarios, also them with similarities and conceptual affinities to those of certain filmography, as in Casa da Capela (2021) - target project of specific analysis in this reflection. The interest in this crossing of territories, as a place of choice and motto for future and running projects, is also enunciated here in anticipation, thus enabling a preview in première.

10-25

Authors: Jose Ailson LEMOS DE SOUZA

This article aims at presenting a brief discussion on two films directed by James Ivory, A Room with a View (1985) and Maurice (1987), both of which are adaptations from the novels of the same name by E. M. Forster. The focus of the analysis is the gender critique and the troubles concerning sexuality in England at the beginning of the twentieth century. Such themes are adapted and contextualized in spaces that are associated to heritage films, a critical term that emerged in British academic context and that refer to period films, which depict British past and its literature. Before the films’ analysis, we discuss some of the feminist criticism that consider the questions explored in the film narratives, mainly in the texts by Mulvey (1983), Cook (1996), Pidduck (1997), and Monk(2011), among others. Ivory’s films select and develop scenes of subversion that criticize power relations of gender and sexuality and, as a result, diversify contemporary visual culture by means of a more democratic distribution of discourses and representations of human experience.

40-54

Authors: Daniel LEÃO

This publication discusses the narrative articulations and recording strategies of three documentaries made by Brazilian directors in their films about Dilma Rousseff's impeachment: The Coup d’Etat (Paula Fabiana, 2016), The Process (Maria Augusta Ramos, 2018), and Alvorada (Anna Muylaert and Lô Politi, 2020), We will analyze how these films portray the impeachment process of the first female president of Brazil, appropriating images of the historical world in three distinct spaces - the streets, the parliament, and the presidential residence - anchored in theirs experiences and noninterventional observations to build analytical assertions about this traumatic fact in the contemporary history of Brazil.

65-75

Authors: Adriana Falqueto LEMOS, Alice da Rocha PERINI & Hugo Filipe QUINTELA

Based on discussions that are anchored in reception theorists and the female body and its dimension in literature, this article discusses the filmic narrative of Picnic at the Hanging Rock (1975), by Peter Weir, adapted from the homonymous novel by Joan Lindsay (1967). The study intends to understand the mythification of the female figure through the effects produced by the cinematographic work of the director in question, having as a counterpoint the figure of the audience and its apprehension to formalize the meaning of the work. Therefore, it is important to highlight the reflections that encompass gender relations in cinema, as, as in other languages, the representation of the feminine almost always alternates between presence and absence, that is, sometimes as an object through a male gaze, sometimes as a faded image when she is the protagonist in the creation of meaning. In contrast, feminist film theory (Rosen, 1973; Mellen, 1974; Haskell, 1987) has long proposed a new perspective on the space obscured by the social construction of genders. Cinema is an important area for discussions on gender to be established.

88-108

Authors: Cristiane Pimentel NEDER & Teresa NORTON DIAS

In this article we seek to show, as in the series The L Word, an important milestone in audiovisual production for human diversity, there is no lesbian or gender standard, in works of fiction or reality. That sexuality is much broader than just fitting into the male and female genders. That in the scale between being a man and being a woman there are people with accentuated characteristics on each side, with more or less accentuated behaviours on both sides, without a defined pattern, because the human being is able to transit in frontiers with near and distant territories, between the masculine and the feminine, without a stipulated dosage of one or the other, forming various genders from these two.

121-134

Authors: Luís LIMA & Alexandra MARTINS

Focusing fundamentally on the film The Dead and The Others (2018), by João Salaviza and Renée Nader Messora, this article intends to problematize the relations between the regimes of perception of Amerindian ontologies, namely of the Krahô, and the phenomenology of cinema, elaborating for this purpose three primary questions: 1) the relation summoned by the film between animism, shamanism and the cinematographic qualities themselves; 2) the inexistence of a fixed identity (rather multitudes) as a result of a circulating regime of knowledge and the due implications in the (non) representation of a face; 3) approximations between the conceptualization of the crystal in the Deleuzian critique of cinema and in the anthropology of Viveiros de Castro.

151-165

Authors: Wagner Ferreira PREVITALI & Rosângela Fachel DE MEDEIROS

This paper is an excerpt from the poetic research being developed at the Master in Visual Arts - PPGAVI/UFPEL. We seek to investigate how territoriality has been addressed in some recent Brazilian film productions, we are interested in debating the concepts of territory and de-re-territorialization from the trajectories of LGBT people in four movies: Antes o Tempo não Acabava (2016) by Fábio Baldo and Sérgio Andrade, Corpo Elétrico (2017) by Marcelo Caetano, Tinta Bruta (2018), by Marcio Reolon and Filipe Matzembacher, and Sócrates (2018), by Alexandre Moratto. We begin with the understanding of territory and territorialization through the work of Milton Santos (2002, 2004), Gilles Deleuze and Félix Guattari (2012), Nestor Perlongher (1993) and Rogerio Haesbaert (2002). We analyze the relations of the protagonists with the territories they inhabit throughout the movie plots, associating their trajectories sometimes with processes of deterritorialization, sometimes with processes of reterritorialization. We bring Jack Halberstam (2005) to understand the protagonists' spatial productions that escape the heteronormative logic's.

7-14

Authors: Ana Costa RIBEIRO

Resumo: O trabalho estabelece relações entre memória e paisagem no filme Nostalgia da Luz, de Patricio Guzmán, a partir da noção de vestígio. No filme, o realizador investiga os mistérios de uma paisagem - o deserto do Atacama - para se questionar acerca da memória de um país - o Chile. Através da observação dos vestígios encontrados no deserto chileno, Guzmán chega à sua principal temática: a memória dos presos políticos desaparecidos na ditadura de Pinochet. Abstract: The work establishes relations between memory and landscape in the film Nostalgia de la Luz, by Patricio Guzmán, based on the notion of vestige. In the film, the director investigates the mysteries of a landscape - the Atacama Desert - to question about the memory of a country - Chile. Through the observation of the vestiges found in the Chilean desert, Guzmán comes to his main theme: the memory of political prisoners who disappeared during the Pinochet dictatorship.

22-37

Authors: Ronald JESUS & Susana DOBAL

Resumo: Esse artigo busca demonstrar como a Direção de Fotografia pode contribuir na criação de imaginários sobre territórios do Sertão – regiões áridas e semidesérticas do Nordeste e Centro-Oeste brasileiro. Evidenciamos, através de análise fílmica, visionamento de making ofs, coleta e realização de entrevistas, o quanto os métodos de invenção situados nos domínios dos fotógrafos atuam como elementos de poesia, fazendo uso da metáfora e da alegoria (Pasolini, 1982; Savernini, 1999), tanto na representação do espaço quanto nas apresentações dos personagens. Nosso marco teórico centra-se no ato criador (Salles, 1998) e na imaginação do espaço e do território (Lefebvre,2006; Santos, 2006). O texto é dividido em três partes: O Sertão no Cinema Brasileiro; A direção de fotografia como criadora de espaço e poesia e Imagens poéticas do território Sertanejo. Nesse último, investigamos a contribuição da direção de fotografia em três filmes recentes: Deserto (Weber, 2016), fotografado por Rui Poças, AIP; Por trás do Céu (Soh, 2016), fotografado por Azul Serra, e Big Jato (Assis, 2016), fotografado por Beto Martins. Abstract: This paper intents to demonstrate how cinematography can contribute to the imaginary about the territories of the Sertão – arid and semi-desert regions of the Northeast and Central-West of Brazil. By means of film analysis, making ofs and interviews, we highlight how methods of creation used by cinematographer’s act as elements of poetry (Pasolini, 1982; Savernini, 1999) making use of metaphor and allegory, both in the representation of space and the presentation of characters affected by it. Our theoretical framework focuses on the poetics of the creative act (Salles, 1998); and on the imagination of space and territory (Lefebvre,2006; Santos, 2011). The text is divided in three parts: The Sertão in Brazilian Cinema; Cinematography as creator of space and poetry and Poetic images of the “Sertão” territory. In the latter, we will investigate the contribution of the cinematography in three recent films: Deserto (Weber, 2016), cinematography by Rui Poças, AIP; Por trás do céu (Soh, 2016), cinematography by Azul Serra, and Big Jato (Assis, 2016), cinematography by Beto Martins.

49-64

Authors: Cristiano André Hoppe NAVARRO & Hélio José Santos MAIA

Resumo: A arte como expressão da alma humana possui o poder da leveza e da beleza, denuncia, torna visível, esclarece e convence. Nesse caminho, o cinema representa uma "arma" no arsenal contra o colonialismo em contextos pós-coloniais em que as territorialidades estão em disputas de forma multidimensional, seja na cultura, nos bens minerais, nos recursos naturais, fauna e flora. “Arma” essa que se adequa ao conceito de Soft Power de Joseph Nye (2004a). Nesse sentido, o presente trabalho, objetiva apontar algumas intersecções entre a arte do cinema, aspetos das relações entre povos colonizadores, colonizados e as subsequentes teorias pós-coloniais delas decorrentes. A partir daí, analisam-se os roteiros de três filmes identificados com a temática do colonialismo, quais sejam o indiano Lagaan (Gowariker, 2001), o japonês Princesa Mononoke (Miyazaki, 1997) e o estadunidense Avatar (Cameron, 2009). Como conclusão, entre outras, evidencia-se que as obras cinematográficas auxiliam nas discussões e visão crítica a respeito de temáticas sensíveis como colonialismo em contextos pós-coloniais. Abstract: Art as an expression of the human soul has the power of lightness and beauty, denounces, makes visible, clarifies and convinces. In this way, cinema represents a "weapon" in the arsenal against colonialism in post-colonial contexts in which territorialities are in disputes in multidimensional way, whether in culture, mineral goods, natural resources, fauna and flora. “Weapon” that fits Joseph Nye's (2004a) Soft Power concept. In this sense, the present work aims to point out some intersections between the art of cinema, aspects of the relations between colonizing, colonized peoples and the subsequent post-colonial theories arising from them. From there, the scripts of three films identified with the theme of colonialism are analyzed, namely the Indian Lagaan (Gowariker, 2001), the Japanese Princess Mononoke (Miyazaki, 1997) and the American Avatar (Cameron, 2009). As a conclusion, among others, it is evident that cinematographic works assist in discussions and critical view regarding sensitive themes such as colonialism in post-colonial contexts.

74-95

Authors: Pau Pascual GALBIS

Resumen: Estudio sobre el arcano término misterio, y presente en el cine de David Lynch, y Alfred Hitchcock, a más de la pintura de René Magritte y Giorgio de Chirico. Por consiguiente, este artículo indaga de una manera interdisciplinar y poética dicha facultad, relacionando las obras de artistas muy vinculados con las artes plásticas y con la imagen en movimiento. Recorridos paralelos por el surrealismo, el inconsciente y lo siniestro. Extraños objetos, mansiones lujosas, personajes trastornados, asesinatos sin resolver y, sobre todo, muchas calles con largas sombras. Argumentos y paisajes sublimes que coinciden todos hacia el ritual de lo incógnito. Antesala de futuras adversidades. Abstract: Study of the arcane expression mystery, and present in the cinema of David Lynch, and Alfred Hitchcock, to more than the painting of René Magritte and Giorgio de Chirico. Therefore, this research article investigates this ability in an interdisciplinary and poetic way, relating the works of artists closely related to the visual arts and the moving image. Parallel tours of Surrealism, the unconscious and the uncanny. Strange objects, luxurious mansions, deranged characters, unsolved murders and most of all, many streets with long shadows. Sublime plots and landscapes that all coincide towards the ritual of the incognito. Prelude to future adversities.

108-121

Authors: Ney Alves de ARRUDA & Renata COSTA

Resumo: Cineastas comerciais conseguem criar estereótipos aplicados a personagens materializando-os como seres violentos, assassinos e idiotizados. O preconceito cultural pode se difundir em larga escala pela indústria cultural do cinema uma representação negativada de segmentos humanos como os albinos. Diante da consideração de uma antropologia de grupamentos atingidos pelo albinismo, os quais são excluídos pela sociedade urbana contemporânea estudamos como o cinema enxerga, em linhas gerais, pessoas com essa condição genética hereditária de problemas de pele (sensibilidade à luz do sol) e deficiência da visão. Com fundamento numa atitude metodológica crítico dialética se promoveu a pesquisa e análise fílmica específica; entrevista de cineasta conciliando com uma leitura bibliográfica existente sobre a temática tendo como autores principais André Bazin e Henri Lefebvre, além do epistemólogo especialmente convidado Sigmund Freud. A resultante se expressa pelo diálogo epistemológico verificado diante de uma nova visão estética fílmica do albinismo. Abstract: Commercial filmmakers manage to create stereotypes applied to characters by materializing them as violent, murderous, and idiotic beings. Cultural prejudice can spread on a large scale in the cultural film industry a negative representation of human segments such as albinos. Faced with the consideration of an anthropology of groups affected by albinism, which are excluded by contemporary urban society, we studied how cinema sees, in general, people with this hereditary genetic condition of skin problems sensitivity to sunlight) and deficiency of eyesight. Based on a dialectical critical methodological attitude, specific research and film analysis was promoted; interview of a filmmaker reconciling with an existing bibliographic reading on the subject, with André Bazin and Henri Lefebvre as main authors, in addition to the specially invited epistemologist Sigmund Freud. The result is expressed by the epistemological dialogue verified before a new filmic aesthetic vision of albinism.

139-145

Authors: Francisco Acioly de Lucena NETO & Natália Luiza Carneiro Lopes ACIOLY

Resumo: O artigo propõe analisar o filme, Hoje eu quero voltar sozinho, do cineasta Daniel Ribeiro. A Análise encontra-se fundamentada dentro do panorama de gênero e de valorização quanto à identidade LGBT diante do espaço cinematográfico. A sugestão do artigo tem como proposta à reflexão sobre a temática da homossexualidade entre adolescentes, e questões relacionadas à humilhação na escola, problemáticas quanto à inserção de pessoas portadoras de necessidades espaciais na educação formal tradicional, as descobertas da adolescência quanto ao amor, e o medo dos pais diante aos desafios e desejos destes imaturos adolescentes no espaço da contemporaneidade. sendo assim, também percebemos na adaptação uma variedade de temáticas inseridas no roteiro cinematográfico, e relevante ao tema inicial da descoberta da homossexualidade na fase da adolescência e no processo comparativo das obras ocorre uma divisão de opiniões entre a busca pela independência financeira e a descoberta do amor, além da dualidade de sentimentos, a busca por um intercâmbio internacional com a finalidade de se libertar do medo de desapontar a família perante a opção. A obra apresenta a importância da problemática do tema que é pouco explorado, com toques de criatividade, sutileza, e destreza artística no desenrolar do filme. Abstract: The article proposes to analyze the film, Today I want to return alone, by filmmaker Daniel Ribeiro. The Analysis is based on the perspective of gender and appreciation of the LGBT identity in the cinematographic space. The suggestion of the article proposes to reflect on the theme of homosexuality among adolescents, and issues related to humiliation at school, problems regarding the insertion of people with special needs in traditional formal education, the discoveries of adolescence regarding love, and the parents' fear of the challenges and desires of these immature teenagers in the contemporary space. Therefore, in the adaptation, we also perceive in the adaptation a variety of themes inserted in the cinematographic script, and relevant to the initial theme of the discovery of homosexuality in the adolescence phase and in the comparative process of the works there is a division of opinions between the search for financial independence and the discovery of the love, in addition to the duality of feelings, the search for an international exchange with the purpose of getting rid of the fear of disappointing the family when faced with the option. The work presents the importance of the problematic of the theme that is little explored, with touches of creativity, subtlety, and artistic dexterity in the course of the film.

156-166

Authors: Luciana de Castro Nunes NOVAES

Resumo: Esse texto resulta de um filme que não foi editado. As gravações foram realizadas objetivando as jangadas de pau fundeadas na Praia do Flamengo, Salvador, Bahia, Brasil. A expressão “making the making” é utilizada nesse artigo para refletir sobre a potência da fotografia em contextos de produção audiovisual, a confecção do roteiro a partir da autoria compartilhada entre pesquisadoras e personagem central e a construção política de um filme etnográfico. Abstract: This text results from a film that has not been edited. The recordings were made aiming at the wooden rafts anchored at Praia do Flamengo, Salvador, Bahia, Brazil. The expression “making the making” is used in this article to reflect on the power of photography in contexts of audiovisual production, the making of the script based on authorship shared between researchers and the central character and the political construction of an ethnographic film.

182-190

Authors: Pedro RÉQUIO

Resumo: Este artigo toma como ponto de partida o filme japonês Sol negro, realizado por Koreyoshi Kurahara em 1964, e recorre ao conceito de Arts-Based Research como principal ferramenta metodológica. A obra providencia uma série de elementos úteis para a compreensão de algumas transformações verificadas na sociedade nipónica do pósSegunda Guerra Mundial, tais como o aparecimento de uma juventude em permanente revolta com as normas sociais, o consumo e a cultura de massas, a relação da sociedade japonesa com figuras exógenas e também as alterações, simbólicas e materiais, da morfologia urbana durante o processo de globalização. Paralelamente, Sol negro incide igualmente sobre temáticas como o racismo estrutural, dirigido às comunidades afrodescendentes, e a estereotipização da sua figura através da cultura de massas. Abstract: This article takes the 1964 Japanese film Black sun, directed by Koreyhosi Kurahara in 1964, as its starting point and uses the concept of Arts-Based Research as the main methodological tool. The work provides a series of useful elements for the understanding of some transformations verified in the post-World War II Japanese society, such as the appearance of a youth in permanent revolt with social norms, consumption and mass culture, the relationship of the japanese society with exogenous figures and also symbolic and material changes in urban morphology during the globalization process. At the same time, Black sun also focuses on themes such as structural racism, aimed at Afro-descendant communities, and the stereotyping of their figure through mass culture.

196-210

Authors: João GONÇALVES

Resumo: Admirado pela linguagem inovadora com que constrói retratos de pessoas a viver em situações limite, Pedro Costa é uma figura consensual no panorama do cinema contemporâneo de autor. Entre 1997 e 2006, produziu aquele que é, por muitos considerado, o seu corpo de trabalho mais relevante: um conjunto de três filmes, conhecido por “Trilogia das Fontainhas”, do qual fazem parte Ossos (1997), No Quarto da Vanda (2000) e Juventude em Marcha (2006). Exemplos que nos permitem identificar alguns dos aspectos mais singulares da sua obra. Produzidos à volta de uma ligação entre Cabo Verde e Portugal, os três filmes exploram uma série de oposições, entre um bairro de uma periferia pobre e o centro de uma capital europeia com sinais de riqueza; entre distância e proximidade, comunidade e nãocomunidade, deslocação e localização, lugar e contexto. Numa escala mais pequena, a substituição da ilha pelo bairro, a relação do corpo com a parede a surgir em espaços de dimensões reduzidas, simultaneamente interiores e exteriores. Espaços fechados e abertos, privados e públicos, pessoais e políticos. Com este estudo propõe-se que o antagonismo presente nestes trabalhos e a forma como esse antagonismo é traduzido em linguagem cinematográfica, com recurso a movimentos de câmara lentos e com a figura humana a surgir como elemento principal da composição do plano, aproximam o cinema de Pedro Costa da área da escultura. A proposta é feita com base nos exemplos mencionados, em entrevistas ao cineasta, no pensamento de Jacques Rancière, espectador atento da obra de Costa, e na colaboração entre o cineasta e o escultor Rui Chafes. São explorados três pontos principais: primeiro, o modo como o corpo é representado de maneira semelhante a um objecto, tantas vezes lento, silencioso e frágil, sempre sujeito à condição material da sua existência, acompanhado pela atenção que Costa dá a diversos objectos e que é um registo que aparece como forma de inscrição do ser na realidade concreta das coisas; segundo, a variação da matéria sensível e do que é considerado belo; terceiro, a arte como campo de aproximação de realidades opostas e de criação de novos significados, isto é, como campo de mudança e da possibilidade de um novo começo construído a partir de uma alteração das condições materiais. O objectivo é estabelecer-se uma ligação entre o cinema de Pedro Costa e a área da escultura e reflectir sobre um desafio comum aos dois: a urgência de elevar a vida por meio de uma recomposição do mundo material, numa expressão de significado à margem de lógicas economicistas. Abstract: Admired by his sensitive portraits of people living under extreme conditions, Pedro Costa is a consensual figure in today’s arthouse cinema. Between the years 1997 and 2006, he produced what many consider his most relevant body of work. A set of three films, known as Fontainhas Trilogy, that includes Ossos (1997), In Vanda’s Room (2000) and Colossal Youth (2006). These films allow us to identify some of Costa’s work most distinctive features. Produced around a connection between Cape Verde and Portugal, the three films explore a series of oppositions. An opposition between the poor outskirts and a far wealthier centre of a European capital, between distance and proximity, community and noncommunity, dislocation and location, place and context. And then on a smaller scale, the replacement of ‘the island’ for ‘the neighbour’ and the relationship between the body and the wall as it appears in small spaces that are both interior and exterior, closed and opened, private and public, personal and political. The paper introduced here, proposes that such oppositions, and the way they are translated into cinematic language, with the use of slow camera movements and with the human figure appearing as the central element within the frame, bring Costa's cinema close to the field of sculpture. Supported by the examples just mentioned, by interviews with the filmmaker, by the collaboration between Costa and the sculptor Rui Chafes and the writings of Jacques Rancière, an attentive spectator of Costa’s oeuvre, the paper explores three main points. The first, the representation of the body as an object. A slow, silent, and fragile body that appears always limited by the material condition of its existence. Announced in earlier films and clearly explored in Ossos, it is a quality that allow Costa to inscribe being into the concrete reality of things. The second, most visible in In Vanda’s Room, Costa’s unusual aesthetics and the variation of the sense of beauty that results therefrom. The third, emerging from Colossal Youth, the idea of art as field where it is possible to bring antagonistic realities together and originate new meanings, or in other words, as a field of change where it is possible to imagine and construct new beginnings from changing material conditions. The proposal is then to establish a connection between Costa’s cinema and the sphere of sculpture and to reflect on a challenge shared by the two: the urgency to elevate life through a recomposition of the material world in an expression of meaning beyond economic criteria.

220-230

Authors: Celeste CANTANTE, Romy CASTRO, Balbina GONÇALVES, Jaqueline Castilho MACHUCA, Cristiane Pimentel NEDER, Teresa NORTON DIAS

Resumo: Durante a pandemia que a todos afetou, Jean Mendonça, produtor e diretor de cinema, natural do Brasil, viveu o confinamento só, longe dos seus mais queridos. Com a vontade exasperada de se aproximar dos filhos partiu para uma mensagem cinematográfica, simbólica, que lhes dedicou. Aos meus filhos tem a duração de quinze minutos e retrata momentos do seu quotidiano confinado, desde a rotina de um duche matinal, a um telefonema na tentativa frustrada para, com o filho de 10 anos, jogar online. Abstract: During the pandemic that affected everyone, Jean Mendonça, producer and film-director, born in Brazil, lived in confinement alone, far from his dearest ones. With an exasperated desire to approach his children, he left for a cinematic, symbolic message that he dedicated them. “To my children” lasts for fifteen minutes and portrays moments of his confined daily life, from the routine of a morning shower to a phone call in an unsuccessful attempt to play online with his 10-year-old son.

2-12

Authors: Patrícia Castello Branco

In this essay I will try and develop the concept of haptic visuality, departing from three important films of the history of Portuguese Cinema: The Dance of the Paroxysms (Jorge Brum do Canto, 1929), Change of Life (Paulo Rocha, 1967) and Uprise (Sandro Aguilar, 2008). I will begin with an introduction to the concept of haptics, as Alois Riegl originally conceived it. Next, I will engage in a specific analysis of the above films, starting with Brum do Canto’s The Dance of the Paroxysms. I will try and examine the unique relationship Brum do Canto establishes between haptic visuality and the subversion of Portuguese rural landscape. I will proceed with an analysis of Paulo Rocha’s Mudar de Vida, focusing on what I consider to be the main aesthetic element of the work: the composition of a space that dwells in a continuous passage between physical relations with reality and emotional and social ones. I will conclude with a brief examination of Sandro Aguilar's The Zone, trying to assess how this film incorporates practices typically denoted as haptic, a concept that I will once again try and develop.

30-41

Authors: Rui Mourão

Huni Kuin Laboratory is an artistic-ethnographic research project developed from a field study on artistic practices in rituals of the Huni Kuin Indigenous people in Acre (Western Amazonia, Brazil). It articulates the ritual performance of the Other, the ritual performance of the Self while researching the Other, and what is common in both. It focuses on how to develop an artistic language that establishes an analogy with shamanic ritual dynamics, namely at the level of the relationship between consciousness, body, and image. The Huni Kuin ritual performance links the "forest cinema" (Gow, 1995) of ayahuasca with geometric visual aesthetics (kene) and musical aesthetics (huni meka). Its artistic documentary recording on video is a meta-performance of ritual performance. Performative approaches are thus "simultaneously subject and method" (Conquergood,1989: 82). The filmed and edited images work as an axial metaphor that incorporates an Amerindian ontology of "two and its multiple" (Lima, 1996). To summarize, intersecting theory and practice, the goal is to reflect on the relationship between the moving image and the ritualized movement of the performative search of the Self and the Other, considering aesthetics, myths, and archetypes. This happens in a field of experimentation between art as ritual and ritual as art.

50-63

Authors: Lara Silva Fagundes

How Brazilian Documentary shows the “favelas”: The local community participation in the reality representation. The documentary film can be considered the cinema essence. As Penafria (1999) points out, the first moving images were only meant to record the events of life. Today inserted as a cinematographic genre, the documentary assumes anthropological importance and relevance in a social and cultural dimension, by the exhibition and representation of distinct realities and by the reflection on the identities construction on territories and the bodies that inhabit them. The present research was developed to investigate ten documentaries produced among 2010 and 2016, at Rio de Janeiro (Brazil), on the theme "favelas", to develop a categorical analysis on the relevant aspects of each audiovisual production and to discuss the representations of the reality of these communities and their residents. The films show the relationship of the protagonists with the audiovisual productions, their participation in the conception of documentaries, the relationship between man and territory, the residents' experiences in the neighborhoods and their multiple actions. The participative character of the productions analyzed allows us to reflect on the self - representation of the “favelas” inhabitants on the documentary and as an instrument of social mobilization that surpasses urbanistic barriers and seeks to promote social development.

2-15

Authors: Natacha Cyrulnik

The method of the documentary in connection with the possible interactions between its protagonists (filmmaker, filmed and spectator) is, at first, going to help to define the identities of these participants in the construction of the documentary movie. Then, are the diverse forms of territorial identities that will allow to encircle better the apprehension of the filmed territories. So, the link between these protagonists and the place which weaves will reveal the contribution of the documentary cinema to help to understand better a territory in a more sensitive registration.

26-38

Authors: Samuel Leal

According to the anthropologist Els Lagrou, the claim of contemporary indigenous identities involves adherence to a “specific regime of aesthetic production of knowledge”. We will take such a “production regime” as a territory of identitary belonging, in order to think audiovisual practices in an indigenous community of the xavante ethnic group located at the Brazil Central Highlands. We will analyze a mediumlength video that shows a walk of adults and children through their territory, whose final destination is the area of an old village. The site is currently outside the boundaries of the reserve and is occupied by farmers. We will think on the video in the relation between image, memory and territory, this understood as a space at the same time physical, identitary and imagetic. The film mobilizes the community history within the physical displacement in the territory, to which corresponds a displacement in the time, because it engenders the recovery of a memory. This double displacement projects the gaze to the past of the physical territory (the land), in order to expand the possibilities of access to the symbolic territory (the identity), through the consolidation of an imagetic territory (the film).

46-56

Authors: Gabriela Santos Alves

Realization process of the short film Cages: motherhood, feminist theory and prison system in Brazil The objective of this proposal is to deal with the realization process of the short film Cages, a documentary that deals with the relationship between motherhood and the female prison system in Brazil, based on the experience and the encounter between a set team consisting exclusively of women, in order to address an important theme for feminist theory, maternity, in a specific environment: the nursery of the Feminine Penitentiary of Cariacica, located in the state of Espírito Santo, Brazil. The documentary was scripted and directed by me. The film was built from this meeting between women, especially from their conversations. For the movie crew, listening to what pregnant women and/or with new born children was the main action – what did these women in detention have to say? The data that drove the writing of the plot and the film project was the alarming and continuous growth of the female population in Brazilian prisons in the last fifteen years, which was 567.4%.

67-74

Authors: Luiz Claudio MOtta Lima e Rafael Mattoso

The present work seeks to produce a reflection on the suburban identities from the documentary Alma Suburbana, idealized, produced and exhibited, initially, in the year 2007. Since the beginning of the production of the film, the intention was to give voice to the residents of the suburbs of Rio de Janeiro, who most often contest the derogatory way suburban neighbourhoods are portrayed in media, in general. The team was mainly made up of a group of students from the municipal education system and the intention was to show how the suburbs are actually seen by their residents and also, by those who seek to problematize such subject even though they do not live in a suburb. The interviewees were chosen, from the relevance of their cultural activities, in the field of musical production, cinematographic, poetic, dance, among other suburban activities. The chosen aesthetic was the documentary film of interviews, inspired by the cinematographer Eduardo Coutinho, who worked to make the documentary very lean. Taking advantage of the influence of the filmmaker, the authors of the film also put themselves as characters of the documentary, interrupting the interviewees, appearing in the scenes of the film and mainly claiming their space in the city.

86-91

Authors: Fernando Baños-Fidalgo

In The Generation of Postmemory, Marianne Hirsch describes "postmemory" as the relationship that the "generation after" the Holocaust bears to the personal, collective, and cultural trauma of those who came before, to experiences that were transmitted so deeply and affectively – by means of the stories, images, and behaviors among which they grew up – as to "seem" to constitute memories in their own right. However, at a time when most of the Holocaust survivors have already died, another kind of individual memory takes place. It is that of the generations who, despite not having those experiences, have established some kind of link with the trauma through its images (and its representations) that contribute (as historical, literary or artistic work)to recontextualize a past that has never to be forgotten.

102-106

Authors: Maria João Seixas

Between Poetry, as “sacred territory” and Cinema, its “devout acolyte” it was intended to bring to the discussion its difficult and improbable relation. It was from The Color of Pomegranate (1968) by Serguei Paradjanov, that Maria João Seixas set out to contribute for a reflection between Cinema and the literary territory, Poetry.