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

24-36

Authors: Leandro FORGIARINI

In the intersection between cinema and architecture, the gaze and the places intersect from the construction of narratives and ambiences that make the film a mosaic of varieties and variations. More than mere scenographic space, the dimension of the place that composes the scene adds immaterial and subjective values that give sense and meaning to the motivations, behavior, expectations, and values of the characters. The house, the neighborhood, the city are objective variations of places that exist to situate the narrative, but the way these spatialities are conceived and formatted in order to connect to the emotional spectrum of the work goes beyond the sphere of materiality devoid of symbolisms. Based on examples of films in which places express more than scenographic conceptions, such as L’heure d’été (2008), Visita ou Memórias e Confissões (1982) e Paris-Texas (1984), the paper presents an analysis of how architecture acts in transforming the viewer's gaze by indicating less obvious relationships of space and providing an aesthetic experience permeated by the fruition of the various possibilities of composition of place.

50-71

Authors: Rafael EIRAS

The article proposes the analysis of the film Quilombo (1984), by director Carlos Diegues, perceiving the construction of the territory of Palmares in the work as reflections of a Brazilian identity at the time of imminent redemocratization. The images in the film, which represent the quilombo, are, in this way, the imagination of a possible democratic nation, with Afro-Brazilian culture being the nodal point between various social demands barred by the Military Dictatorship of 64. A process that years later breaks with neoliberalism, but that at the time of production is remarkable. Therefore, Benedict Anderson's perspective when thinking of the nation as an imagined community and Milton Santos understanding the territory as the sum of diverse forces, are activated in a dialogue with the film. A post-colonial perspective where fixed territoriality emerges as control and exclusion of the other. Theoretical contribution that understands the quilombola territory in the film as a break with several colonial and exclusionary processes in Brazil. An interdisciplinary methodological approach, understanding the film as a historical document that allows us to perceive the inherent characteristics of the time in which it is produced; as well as an aesthetic discourse, proposing an investigative direction of the work through the basic properties of the film material and its practical implications.

89-92

Authors: António LAGINHA

The Gulbenkian Ballet, which was undoubtedly the greatest Portuguese dance company of the 20th century (with a national and international projection that none has reached to date) was portrayed in the documentary A body that Dances (2022), by Marco Martins and collaborators, in a incongruous way, from a historical point of view, prejudiced, from an artistic point of view, unbalanced and disrespectful of the work of many – and great dance artists – for the benefit of some who left nothing very substantive in the group.

100-120

Authors: Cristiane Pimentel NEDER & Teresa NORTON DIAS

The article intends to make a reflection on the sound in the cinematographic work Cinema Paradiso (1988), which has a masterpiece of soundtrack signed by Ennio Morricone. To make this analysis it was used as a guide the text “O Som na Ficção Cinematográfica: Análise de pressupostos na criação de componentes sonoras para obras Cinematográficas/Videográficas de Ficção”, by Professor Álvaro Barbosa (2000), from the University of Porto, commenting since the soundtrack to the sounds classified as dialogues, sound effects and music. According to this author, these sound elements can be diegetic, non-diegetic and meta diegetic, and factors such as amplitude, tonality, timbre, and specialization, which change the meaning of the interpretation of sound. The investigation of this paper is important for future researchers of cinematic works to understand how sound affects the perception of the work and how it possesses a metalanguage. One of the concerns is to show that, in Cinema Paradiso, sound serves to build atmospheres of ambiance and intensify the emotions of the characters. This article aims to contribute for the researcher to have an expanded reading of the film script.