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

4-16

Authors: Celso de Brito

In this article, we attempt to perform an anthropological exercise on the constitution process of the difference between "West" and "East" considering in the first place, the deprivation of female freedom in public spaces revealed in the animated movie Persépolis. The cinematic language is well known for being more efficient in the global dissemination of symbols that bring up to date the opposition between "East" and "West". We selected this movie because it is an autobiography written and directed by a woman(Marjore Satrapi) raised in Iran during the Islamic regime and her path legitimizes the movie as a manifestation of the "oriental" point of view. Considering at the core of the movie the opposition between the following matching pairs: "West = secularism vs East = Islamic State" we wonder if it would be possible to say that Persépolis is a graphic production about the symbolic division between "East" and "West" elaborated from a "non-Western" perspective. We conclude that the film expresses a political criticism of women’s restricted space in the "East" ruled by the "West" standpoint, without underestimating that this review is based on the “laïcité” concept of the French regime.

27-34

Authors: Paulo Cunha

In the context of the struggle for Guinea-Bissau and Cape Verde independence, Amílcar Cabral and PAIGC sent four young Bissau-Guineans to Cuba to study cinema. For Cabral, demonstrations of resistance were not only intended to destroy something, but also simultaneously to construct something new and take on four complementary forms: political, economic, cultural and armed. For the leader of the movement for independence, cinema would play an important role in cultural resistance and in the construction of alternatives to the Portuguese colonialist gaze. The young Amílcar Cabral knew that the “decolonized” images would be important in the mobilization of the Guineans in their struggle for independence, in the international dissemination of the pretensions of Guinean and, in the last case, the provision to the “Portuguese people” of another version of history that was different from that linked by the propaganda apparatus of the colonial gaze. The purpose of this text will be to start from the famous maxim of Cabral (« African nation forged in the struggle »; Cabral, 1974) to reflect on the context of emancipation of a cinematographic gaze in Guinea- Bissau and his contribution to the process of building a supposed national identity from this dialogue with Latin American cinema in its relation to the geopolitical and ideological context of the East-West dichotomy that marked the second half of the 20th century.

50-63

Authors: Romy Castro

After having learned several extensional perspectives of Earth/Space, and of having captured different materials of the Earth, which have been deepened and diffused in our personal artistic project called “The Earth as an Event”, build in the painting,installation, photography and film dimensions, we set off to a continuity of the methodological discourse, the one that draws together the ontological connotations with the space and material, determining, thus, the creation of new boundaries, that is, determining an encounter with the desterritorialisation between geography, topology and philosophy. Special concepts particularly significant to the reflection about contemporary arts and about our art specifically; as a way to articulate the special boundaries with which art confronts itself, especially this art with materials of the Earth, and the way to conceptually limit the distribution of the images of the thought in space, to establish its drawing and inscribe itself afterwards in a similar articulation, the one that potentially apprehends the spatiality within other reflection, the geophilosophical one, thus allowing the idea of the substance of the world become the main theme to the inscription of these notions in our essay.