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

16-25

Authors: Bruno Fontes

This paper presents an analysis of the film Alice in the Cities (Wim Wenders, 1974). It will be shown how the main character, a journalist with a writer’s block that takes refuge in photography, overcomes its dilemmas through a disorientation path with a child, which slowly brings him back the ability to write. The analysis will be specially enriched with the works of Vilém Flusser, Gilles Deleuze and Roland Barthes.

39-45

Authors: Carla Lyra

The myth of the cabaça is a link between Pernambuco’s local music and its African roots. For musicians, the creative process is grounded in a poetic reality where narratives, myths, and religions often coexist. This paper is about a film´s project that aimed to document the recovering of Pernambuco’s living culture and the creative potential of new generations of artists who have grown in Terreiros and registers images of Pernambucos´s first urban quilombo.

57-66

Authors: Silvia Boschi

In this paper we propose an analysis of the film I travel because I have to, I come back because I love you (Marcelo Gomes and Karim Aïnouz, 2009) through an approach that takes into account the dimension of the body in its affective powers, both in the way they occur in the film and in the way they affect and mobilize the spectator's experience.

75-84

Authors: Nuno Lindoso

In this paper I make an analysis of the representation of Recife city in the film Febre do Rato, directed by the filmmaker Cláudio Assis and scripted by Hilton Lacerda. My purpose is to give a description and interpretation of the ways of living and experience the city showed in this film, in order to reflect on how film narratives presented urban social relations and how they can contribute to think urban life. The plot takes place in the district of Central Recife specifically the region bathed by the Capibaribe river and has as protagonist Zizo, an anarchist poet, of transgressive life, who carries in himself the memory of the city.

92-101

Authors: Margarita ledo Andión

‘Forget who you are in order to be yourself/another’, says the voice and body in exile of the actor of Galician origin, Maria Casares, in Alain Resnais's 1945 film, Gernika. So as not to forget the barbarity, the bombing of the civil population, the losses. To feel your body in someplace, beyond the loss, in the place where your feet are. Using this paradoxical idea and accompanied by cinema – which puts a face to that tragic characteristic of the century: the never-ending movement of masses of people driven by hunger, wars, persecution, catastrophes, etc. – we are going to search for a cinema in which territory is, uniquely, the desire to return. We are moving towards a definition of migrant cinema, of cinema of, and from, the diaspora, and following in the footsteps of what is feminine; we are moving towards the attitude of the filmmaker as a requisite of filmmaking to, ultimately, epitomise said migrant cinema via a brief journey through Cinema in Galician Language.

17-26

Authors: Mariana Figueira da Silva

One of the most knowned films of Manoel de Oliveira, No, or the Vain Glory of Command, presents a group of soldiers facing the war in Africa in the year 1974. Through this film Oliveira recounts, like is done in Os Lusíadas, the history of Portugal, but through the bitter defeats suffered inside and outside the Lusitanian territory, always stemming from the "vain glory of command". In the episodes portrayed, there is a failure in social and territorial disputes - ranging from the historical event of Viriato, who leads the Lusitanian tribes in resistance to the Roman invasion; Until the notorious battle of Alcácer-Quibir and the resulting designs of Sebastianism. Listing a series of episodes that go back to the history of Portugal, Manoel de Oliveira, in this film, seeks to reflect on the human and cultural dimension of the Portuguese people. This work seeks to analyze in the film No, or the Vain Glory of Command, the relations established between the cinema and the concept of territory that serve as the guiding thread for the reflection on the formation of a nation, besides observes the cinema as a space for the expression of the portrait of Portuguese social identity.

35-49

Authors: Pau Pascual Galbis

Kaneto Shindo's dark and expressionist feature film Onibaba (1964) is presented as a model of a generation of Japanese artists who shared all the suffering, misery, fear and desolation of the Second World War. In addition to this film includes aspects of the Noh Theater and the fantastic mythology of his country, as is the oni -demon- in different contexts.

14-24

Authors: Filomena Silvano

Dans les années 1997 et 1998, j’ai accompagnée les tournages de Esta é a minha casa et Viagem à Expo, deux films de João Pedro Rodrigues et, en 2010, une partie des tournages de Alvorada Vermelha et A última vez que vi Macau, de João Pedro Rodrigues et João Rui Guerra da Mata. Dans les deux cas, j’ai pris l’expérience de participation dans les tournages comme un travail ethnographique. Avec cet article, je prétends montrer la façon de faire de l’anthropologie, fondement des textes que j’ai écrit postérieurement. Je pense que le cinéma de João Pedro Rodrigues accède au réel à l’intérieur d’un mode de description qui opère par intégration dans/des forces qui le constituent. Dans ce sens,il s’assimile aux descriptions de certains anthropologues. Mais, à l’instar de celles-ci, une description contient déjà une interprétation, celle-ci indissociable de son auteur. En utilisant les descriptions du cinéaste, j’ai donc eu accès à une partie du réel qui m’aurait été autrement cachée. Ma description anthropologique est une relecture, dans la mesure où j’ai travaillé en partant d’une description, faite par un cinéaste, de ce que j’avais moimême observé. En partant des deux expériences sus-citées, le texte présente quelques réflexions sur la question territoriale.

34-40

Authors: Ana Paula Almeida

The First World War (1914-1918) was a privileged stage to experience the power of advertising in the context of war. The different countries involved in the war soon realized the importance of advertising, using posters as a mean of justification for their involvement in the conflict, in the recruitment of soldiers and how to support the military campaign. Advertisement was a way to persuade people that war was essential, once it was a fight for freedom. The purpose of this communication is to examine the cinema contribution at war advertising and the role of Motion Picture Service Army, in 1917, when Portugal joined the First World War.

58-78

Authors: José da Silva Ribeiro

The community against the powers: resistance and social reflexivity. As reference we take 3 films where people react against established powers, resisting for decades, providing and solidifying building up processes of community and local culture. The first film Tous au Larzac! (2011) of Christian Rouaud, documents the contemporary history of farmers that have fought for a decade (1971-81) for the owning of the land and against expropriation, in result of a decision of the French Ministry of Defence of expanding the military base of the region of Larzac, in the south of France, and the building up process of a community around the fight and resistance. The second film,Finding our way (2011), of Giovanni Attili and Leonie Sandercock, acompained by a powerful hipermediatic device of unavoidable pedagogic value and of social reflexivity, tells the story of robbed people from their territory and the conflicts not yet worked out of the indigenous people, the industry and the Canadian government in the British Columbia. The third movie, Boe Ero Kurireu – The Bororo big tradition (2007) of Paulinho Ecerae Kadojeba proposes to register the bororo culture from its own culture. The film is a detailed ethnographic description and a careful work about sonorities and comment, as well as the confront with the representations of Globo TV in reference of the ethical questions of the research. The three films constitute a process of social reflexivity and an excellent place of observation and analysis of the confront between the logic of reciprocity of the cinematographic production and the local communities with interest in industry, army, state, of the hegemonic means of political and economic power and of symbolic local representations. We have tried to draw a few lines of comparability between the cinematographic production processes, the resistance of the local culture and social reflexivity.

83-95

Authors: Alexandra Pinto

This article discuss some creative experiences developed during the work in progress called "Travels, travelers and moving images” (“Viagens, viajantes e imagens em movimento”). It was started by the author in 1993 under the title of The Road (D’Estradas), including the production of the documentary Passante (Passing) about Brazilian road characters andalso Mundança (Mix of words: World-Dance- WalkingChange) about travelers in the train. Both were awarded by the São Paulo State Culture Department. Despite the historic chatacter of the project, it also includes some fiction works with them as well as an interactive installation. All was done using the same gross material, focusing on editing as a fundamental creative act, a writing with images and sounds.

106-115

Authors: Carlos Valente

This article analyses the short film The Girl Chewing Gum (John Smith, 1976)placing it in the context of experimental trend to which it is associated, linked to the structural cinema. The film is, in first place, a document of the director's gaze about the reality of common day-to-day situations, but it's much more than that because the voice that the director overlaps on the shot modify, in a disruptive way, the pro-filmic material. The "territory" of the film is thus deconstructed in ironic and radical way. To what extent is image, as a real document, transformed and "fictionalized" by the gaze (and voice) of the director? All cinema does that, certainly, but John Smith exposes this specific cinematic "territory", with a reflective and deconstructive attitude that takes viewers back to this oldest and essential question: what is cinema?

128-133

Authors: Teresa Norton Dias

On this reflection, we have privileged the concept of non-place and the connection we wanted to establish with non-films, produced without the intervention of the human eye. We have used the 'Lisbon Story. Trip to Lisbon' and the lesson that the German filmmaker, Wim Wenders, gives us about the non-possibility of quite knowing a place.