Pablo Gonçalo

This article investigates and proposes the concept of speculative writing, which is a disruptive sort of dramaturgy mediated by artificial intelligence. What are the kinds of events created by speculative writing? What might its history and genealogy be? What might the duration of an alphanumeric reenactment be? Guided by these questions, the article details its search for speculative writing in unfilmed script history as well as in premediation events. According to these concepts, this essay concludes that speculative writing will enact potential, abstract, and premediated events, which have never become material media.

Este livro conduz o leitor para um universo de escritores que tornaram-se roteiristas e/ou cineastas. Eles encontraram no cinema um refúgio para suas crises de uma escrita restrita à tradições literárias. Ao longo da pesquisa, são apresentadas obras cinematográficas assinadas por Bertolt Brecht, F. S. Fitzgerald, Robbe-Grillet, Peter Weiss, Pasolini, Marguerite Duras, Georges Pérec e Samuel Beckett. O cerne do percurso analisa a escrita de Peter Handke, seus filmes, peças e sua colaboração como roteirista de três longas de Wim Wenders. Nesse travelling de letras compartilham-se roteiros não filmados de alguns desses escritores, o que sugere novos vértices do amplo diálogo entre cinema e literatura.

Resenha  do  livro Cinema como Arqueologia das Mídias,  de Thomas Elsaesser, lançado em 2018. Trata-se de uma obra importante para a atual agen-da dos estudos de cinema. Com um argumento consistente, Elsaesser sugere uma compreensão do impacto da tecnologia digital no cinema a partir de uma perspectiva arqueológica, a qual possui a descontinuidade histórica como um dos seus primados. Dessa forma, o autor revisita conceitos e metodologias es-senciais dos estudos de cinema, tais como dispositivo, linguagem e narrativa, origem  do  cinema,  pesquisas  com  espectadores  e,  até  mesmo,  o  impacto  do chamado “cinema de atrações”, no período do “primeiro cinema”. A cada revisão desses  conceitos,  Elsaesser  aponta  que  o  estudo  de  descontinuidades  pode gerar um profundo impacto nos estudos de cinema contemporâneos. O autor alemão também apresenta o conceito de poética da obsolescência, ressaltando

O ensaio propõe uma revisão historiográfica do cinema brasileiro a partir dos roteiros não filmados. Seguindo uma análise de roteiros não filmados de Mário Peixoto, Vítor Lima Barreto e Joaquim Pedro de Andrade, sugere-se captar estilos, projetos e intenções estéticas que anunciaram aspectos históricos não consolidados nos ciclos cinematográficos compreendidos por esses diretores. Os roteiros não filmados são analisados a partir de uma metodologia de uma arqueologia especulativa. Seja no cinema dos anos vinte, no projeto da Vera Cruz ou ainda nas relações entre o Cinema Novo e a Embrafilme, esse conjunto de roteiros revela imaginários estéticos potentes que nos permitem vislumbrar aspectos contracíclicos dos períodos cinematográficos que dialogaram e prenunciaram.

Este  ensaio  analisa  os  roteiros  de  A  alma,  segundo Salustre e Outono: o jardim petrificado, ambos de Mário Peixoto, obras que não foram filmadas, ou finalizadas. A  partir  do  enredo  e  da  linguagem  cinematográfica  sinalizada nos roteiros salientamos alguns aspectos mais obscuros  da  estética  de  Peixoto  que  não  poderiam  ser  percebidos apenas em Limite. Ao final do ensaio propõe-se uma arqueologia especulativa para compreender o papel dos roteiros não filmados na teoria e história do cinema e, mais  especificamente,  como  uma  possível  revisão  da  historiografia do cinema brasileiro.

Este artigo realiza uma introdução aos estudos de roteiro, os quais, há cerca de uma década, vem se estabelecendo com um grupo de publicações, pesquisas, revistas acadêmicas, e de congressos periódicos. Apresentaremos os principais autores, conceitos, metodologias e tópicos de debates do campo chamado Screenwriting Studies. Dividimos o artigo em quatro seções, se ndo que na primeira salientamos uma periodização histórica da prática do roteiro dentro da história do cinema; na segunda, abordamos autores roteiristas, conceitos e metodologias; na terceira e na quarta elaboramos uma crítica refl exiva do campo dos estudos de roteiro e sugerimos uma contribuição que compreenda o roteiro como uma prática escrita intermedial além de iniciamos uma aproximação entre o roteiro e o debate sobre ekphrasis. Palavras-chave: Estudos de roteiro; História do cinema; Intermedialidade. ABSTRACT: This article is an introduction to the Screenwriting Studies, which has been established with a group of publications, research, academic journals and periodical congresses. I will present the main authors, concepts, methodologies and discuss topics of that fi eld. Therefore, I divide the article into four sections. The fi rst will emphasize a historical periodization of script practice within the history of cinema; In the second, I approach authors as well as writers, concepts and methodologies; In the third and fourth I elaborate a refl exive critique of the fi eld of screenwriting studies and suggest a contribution that understands the script as an intermedial gesture and writing practice. Finally, I propose an approximation between the script and the debate about ekphrasis

Ensaio sobre o filme Martírio (2016), de Vincent Carelli e Ernesto de Carvalho, a partir de algumas reflexões de Pierre Clastres. Também faço algumas comparações com outras cinematografias indígenas, como a obra etnográfica de Andrea Tonacci e o filme Taego-Awã, de Henrique e Marcela Borela.

‒ Splinters of the Filmic Sentence: the intermedial dramaturgy of Peter Handke ‒ This article presents an analysis of the first phase in Peter Handke's work. It focuses on a theoretical concept developed by Handke to highlight his filmic sentence. Upon analysis of several of his works, it appears that this aesthetic sensibility pervaded his theater, his novels, his debut as a filmmaker and the scripts he wrote in collaboration with Wim Wenders. As an interpretative summary of his work, the paper defends the existence of a link between the practice of ekphrasis and the emergence of an intermedial dramaturgy, in which the writing gesture needs to reinvent itself between languages borders, media, new technologies and materialities. Keywords: Performance. Intermediality. Playwright. Peter Handke. German Literature. RÉSUMÉ ‒ Fragments de la Phrase Filmique: Peter Handke et son dramaturgie intermediale ‒ L'article présente une analyse de l'ensemble de la première phase de l'oeuvre de l'écrivain Peter Handke. On part d'une conception théorique développé par Handke lui-même, qui culmine a la phrase film-ique. Au long de l'analyse on passe pour plusieurs ouvrages pour marquer que cette perception es-thétique est présente dans son théâtre, ses romans, son premier film en tant que metteur en scène et les scripts de sa collaboration avec Wim Wenders. Pour résumé et interpréter son travail, l'article propose un lien entre la pratique de ekphrasis et l'émergence d'une dramaturgie intermédiale, dans laquelle le geste d'écriture doit se réinventer entre langages, frontières, les médias et des nouvelles technologies. Mots-clés: Performance. Intermédialité. Dramaturgie. Peter Handke. La Littérature Allemande. RESUMO ‒ Estilhaços da Frase Fílmica: a dramaturgia intermedial de Peter Handke ‒ O artigo realiza uma análise do conjunto da primeira fase da obra do escritor Peter Handke. Parte-se de um ensaio teórico elaborado pelo próprio Handke para dele destacar sua concepção de frase fílmica. Ao longo das análises de diversas obras constata-se como essa percepção estética perpassou seu teatro, seus romances, seu filme de estreia como diretor e os roteiros de sua colaboração com Wim Wenders. Numa síntese con-ceitual e interpretativa da sua obra, o artigo propõe uma articulação entre a prática da ekphrasis e o surgi-mento de uma dramaturgia intermedial, na qual o gesto da escrita precisa se reinventar entre fronteiras de linguagens, mídias, novas materialidades e tecnologias. Palavras-chave: Performatividade. Intermedialidade. Dramaturgia. Peter Handke. Literatura Alemã.

RESUMO ‒ Estilhaços da Frase Fílmica: a dramaturgia intermedial de Peter Handke ‒ O artigo realiza uma análise do conjunto da primeira fase da obra do escritor Peter Handke. Parte-se de um ensaio teórico elaborado pelo próprio Handke para dele destacar sua concepção de frase fílmica. Ao longo das análises de diversas obras constata-se como essa percepção estética perpassou seu teatro, seus romances, seu filme de estreia como diretor e os roteiros de sua colaboração com Wim Wenders. Numa síntese conceitu-al e interpretativa da sua obra, o artigo propõe uma articulação entre a prática da ekphrasis e o surgimento de uma dramaturgia intermedial, na qual o gesto da escrita precisa se reinventar entre fronteiras de lingua-gens, mídias, novas materialidades e tecnologias. Palavras-chave: Performatividade. Intermedialidade. Dramaturgia. Peter Handke. Literatura Alemã. ABSTRACT ‒ Splinters of the Filmic Sentence: the intermedial dramaturgy of Peter Handke ‒ This article presents an analysis of the first phase in Peter Handke's work. It focuses on a theoretical concept developed by Handke to highlight his filmic sentence. Upon analysis of several of his works, it appears that this aesthetic sensibility pervaded his theater, his novels, his debut as a filmmaker and the scripts he wrote in collaboration with Wim Wenders. As an interpretative summary of his work, the paper defends the existence of a link between the practice of ekphrasis and the emergence of an intermedial dramaturgy, in which the writing gesture needs to reinvent itself between languages borders, media, new technologies and materialities. Keywords: Performance. Intermediality. Playwright. Peter Handke. German Literature. RÉSUMÉ ‒ Fragments de la Phrase Filmique: Peter Handke et son dramaturgie intermediale ‒ L'article présente une analyse de l'ensemble de la première phase de l'oeuvre de l'écrivain Peter Handke. On part d'une conception théorique développé par Handke lui-même, qui culmine a la phrase filmique. Au long de l'analyse on passe pour plusieurs ouvrages pour marquer que cette perception esthétique est présente dans son théâtre, ses romans, son premier film en tant que metteur en scène et les scripts de sa collaboration avec Wim Wenders. Pour résumé et interpréter son travail, l'article propose un lien entre la pratique de ekphrasis et l'émergence d'une dramaturgie intermédiale, dans laquelle le geste d'écriture doit se réinventer entre langages, frontières, les médias et des nouvelles technologies. Mots-clés: Performance. Intermédialité. Dramaturgie. Peter Handke. La Littérature Allemande.

The article considers a connection between the theories of ekphrasis/enargeia and screenplay studies and investigates how two different ekphrasis traditions are combined in the film Wings of Desire (1986) in the partnership between its screen-writers, Peter Handke and Wim Wenders. It begins with a brief review of these concepts in Greco-Roman oratory, then moves on to address ekphrasis in media. More specifically, ekphrasis is broached in Peter Handke's theatre and literary works, which evolve into his screenwriting for Wim Wenders' films. The article also contrasts the first draft of the screenplay for Wings of Desire with the final film, as it shares and analyses sections of Handke's verses that are excluded from Wenders' final film.
You will find the entire version of the article on this site: http://www.intellectbooks.co.uk/journals/view-Article,id=23418/

This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper's Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is The Guests, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven. There are artists who can shift back and forth between the two aspects of archival media: between the body itself and its image, between the moment of seeing and the point of view it creates. Ken Jacobs is one of the most interesting cases in terms of such transgressions in perspective. In his book, Breakdowns, Art Spiegelman depicts Jacobs facing the observer. There is a rectangle cutout placed against his left eye, suggesting he has a fragmented view of the observer – who also sees him. From the other side of the gaze, his perspective might be interrupted and cadenced by the frame of his choice. With this play between pictures and

O artigo apresenta, descreve e analisa o roteiro do filme Lento retorno, de Wim Wenders, que foi escrito em 1982 e nunca foi filmado. A obra é a adaptação homônima de uma tetralogia escrita por Peter Handke e representa uma guinada numa estética das paisagens, tanto na obra daquele cineasta alemão como na do escritor austríaco. Do roteiro, retiram-se aspectos temáticos, estéticos e dramatúrgicos que permearam outros filmes e livros de ambos os artistas. Inspirada pelas recentes pesquisas do screenwriting studies, a segunda parte do artigo ensaia compreender o roteiro como protoarquivo de um filme potente. Um arquivo, tal como concebido por Jacques Derrida, também aponta para o futuro e, dentro dessa perspectiva, os roteiros não filmados anunciariam aspectos espectrais de uma história do cinema. Palavras-chave: roteiro, arquivo, Wim Wenders, Peter Handke, Cinema Novo alemão, literatura alemã. Abstract: Archives and spirals: Slow homecoming, the film that does (not) exist-The paper presents, describes and analyzes the screenplay entitled Slow homecoming, by Wim Wenders, which was written in 1982 and has never been filmed. The work is an adaptation of the homonymous tetralogy by Peter Handke and represents a shift in landscape aesthetics, both in film and literature. This work led me to ask more specific questions about the role of the script in narratives that make up a certain history of cinema. Furthermore, I gradually discovered the meaning and value of a script, whether historical or narrative, for a nonexistent film. The script is defined as an archive, as conceived by Jacques Derrida, who also points to the future and might announce spectral aspects of film history. No decorrer da nossa pesquisa sobre a colaboração entre o escritor Peter Handke e o cineasta Wim Wenders, encontramos um roteiro que não foi filmado e talvez esse tenha 1 Este texto foi anteriormente apresentado na XXIV Compós, em Brasília, 2015, no GT Estudos de Cinema, Fotografia e Audiovisual.

Few are acquainted with Bertolt Brecht’s vast and varied film work. His work as a screenwriter lies in the shadow of his playwright notoriety and at the margins of his attempts at collaborating with the film industry. We are looking at a kind of film work beyond the standard screenwriter's resume of released and commercial movies. Brecht was quite the secretive screenwriting-type.
What have we found upon opening his cinematic Pandora’s box and reading some of his unfilmed scripts? What styles of film did I glimpse when reading the more than thirty screenplays that he wrote? Looking carefully into the core of those screenplays that he signed and elaborated, I detected a conspicuous absence, that of his most widely known dramaturgical concepts. Out of over thirty written screenplays, very few of them directly apply his most celebrated theatrical premises. It is as if, turned into script, his dramaturgy embraced a potential for images that are distant from the imaginary he created for the stage.

This article investigates and proposes the concept of speculative writing, which is a disruptive sort of dramaturgy mediated by artificial intelligence. What are the kinds of events created by speculative writing? What might its history and genealogy be? What might the duration of an alphanumeric reenactment be? Guided by these questions, the article details its search for speculative writing in unfilmed script history as well as in premediation events. According to these concepts, this essay concludes that speculative writing will enact potential, abstract, and premediated events, which have never become material media.

espanolEl articulo analiza tres documentales que nos ofrecen un retrato de los circuitos del arte. Las peliculas F for Fake, Exit Through the Gift Shop y Waste Land nos muestran algunos posicionamientos eticos y opciones estilisticas como la ironia, el cinismo y el pragmatismo. EnglishThe article analyzes three documentaries that reveal artistic circuits. Films such as F for Fake, Banksy: Exit Through the Gift Shop and Waste Land show some ethical implications and aesthetical choices related to irony, cynicism and pragmatism. francaisL‘article discute trois documentaires qui nous offrent un portrait sur les circuits de l‘art. Les films F for fake, Exit Through the Gift Shop et Waste Land nous montrent des positions ethiques et des choix stylistiques tels que l‘ironie, le cynisme et le pragmatisme. portuguesO artigo analisa tres documentarios que retratam circuitos de arte. Os filmes F for Fake, Exit Through the Gift Shop e Lixo Extraordinario revelam posicionamentos eticos e escolha...

Literature about the ontology of screenplays demonstrates two simultaneous and parallel approaches. On one hand, there is the understanding of writing for the screen as modulations and constant adaptations. On the other hand, the script is seen as a guide that reveals and interprets a screening idea. This presentation brings together both approaches and proposes a possible history of screenplays that never reached the screens, thus remaining caught between archives, speculation, and the spectrum of possible films. We discuss the ontological temporality of unfilmed scripts by writers such as Bertolt Brecht, F. Scott Fitzgerald, Peter Handke, and Wim Wenders, which oscillate between delay, according to Heidegger, waiting, as stated by Walter Benjamin, and speculation, as proposed in the philosophies of Alfred Whitehead and Gilles Deleuze. The presentation points to how the aesthetic concepts in these scripts establish a double dialogue between the books and films that surround the work of these authors. At the same time, the status of unfilmed scripts allows us to trace a speculative relationship of films and possible styles between the archives of the scripts and the words that were never translated into audiovisual images. It is about a relationship that invites a dialogue between literature and cinema where the script does not directly address the debate about adaptation but traces ekphrasis between texts and medias. We go beyond a simultaneous analysis focused on individual cases and propose a genealogy of unfilmed screenplays that point to a double upgrade of screenplays-archives (or of unarchived screenplays archives): new stories are inaugurated inside the history of cinema that suggest what is to come, films waiting for a future, possible films, virtual films, always imminently reaching the screens.

In my research about the collaborations between Peter Handke and Wim Wenders I found a script that has never been filmed, which would explain why it has never been analyzed in academic bibliographies related to their partnership. Wim Wenders wrote a script entitled Langsame Heimkehr (Slow homecoming) in 1982 as an adaptation of the homonymous tetralogy by Peter Handke. This 'find,' along with the absence of interpretations for it, led me to ask more specific questions about the role of the script in narratives that make up a certain history of cinema. Furthermore, I gradually discovered the meaning and value of a script, whether historical or narrative, for a nonexistent film.

Since typewriters and old edition practices had been lost their central role, writing has been facing fundamental changes. Less mimetic than before, writing has been interacting with alpha-numeric codes and has also tackled more directly with potential, errant, open futures than represented past facts.Considering this writing changes, my presentation will highlight two aspects that conceive a different approach to film theory and history as well as what has been called media archeology.
On the first part I introduce my research on unfilmed scripts, which points out to a spectral  history of film. Since the consolidation of the so-called blueprint script, which had occurred after the end of the silent period, scripts have been interpreted as a model and a shadow of what happens strictly on the screen. Unfilmed scripts, however, offer an epistemological crisis to film studies. It points to a history situated in-between events and its potentiality, survivals and returns. To lead wit old and unfilmed scripts might suggest further forms of writing practices for new media, which are more speculative than representative.   
On the second part of my presentation I will focus on montage and edition, which, since Einsenstein's theories, has been revealing crucial dialogues between writing and film. Some films of Ken Jacobs will be addressed to emphasize new forms of interference (and perversion) of archival images, by which edition denaturalize the conventional media gaze. Choosing old film archivals, Jacobs set up an edition that is close to an object-orientated materialism and perverts our gaze of archivals. Both unfilmed scripts and Jacobs' work will lead to propose the concept of speculative writing, which fiction and facts are created beyond author, historical, textual and plot controls. Speculative writing suggest opened and holed events that transforms themselves while they are filled by readers and viewers.

The films made by the American experimental filmmaker, Ken Jacobs, reveal a constant challenge that interacts with film material, media, and the experience of viewing itself. Not by chance, Jacobs' films always lead the audience across media boundaries by contrasting the limits of human perception. In this paper I highlight how Jacobs’ earlier and contemporary films can contribute to understanding what I am calling a Remediation Instant, which can happen between frames and medias, between the eye and the brain.

In my research about the collaborations between Peter Handke and Wim Wenders I found a script that has never been filmed, which would explain why it has never been analyzed in academic bibliographies related to their partnership. Wim Wenders wrote a script entitled Langsame Heimkehr (Slow homecoming) in 1982 as an adaptation of the homonymous tetralogy by Peter Handke. This 'find,' along with the absence of interpretations for it, led me to ask more specific questions about the role of the script in narratives that make up a certain history of cinema. Furthermore, I gradually discovered the meaning and value of a script, whether historical or narrative, for a nonexistent film.

The generation of European writers from the fifties possibly started a new relationship between literature and cinema by taking the gesture of writing beyond pens, pencils, and typewriters. Initially they wrote scripts for film directors, but little by little writers such as Robbe-Grillet, Marguerite Duras, Pier Paolo Pasolini, Samuel Beckett, Peter Weiss, and George Pérec sought to make films on their own. These experiments impacted young artists in the sixties that started playing with words, images, and medias. This paper will analyze how some of the ideas and practices of Robbe-Grillet and Duras guided the first experiments with theater, radio, and cinema made by Austrian writer, Peter Handke, whose first writings reproduced the aesthetic sensibilities experienced by audiences and readers. Based on Kitller and Flusser, I will highlight specific writing aspects in which literature and aesthetics look for the limits and challenges of cinema and medias.

The article establishes a connection between Ekphrasis and Enargeia, and script studies. It begins with a brief review of these concepts in Greco-Roman oratory, then moves on to debate the borders between the arts and paragons, and finally addresses Ekphrasis in the media field. Emphasis is placed on the analogy between Ekphrasis and the intermediary space of the script, or the line between word and image. Approached in this manner, Ekphrasis transforms a person reading a script into a spectator. Similarly, Ekphrasis is broached in Peter Handke’s theater and literary works, which migrate to script writing for the Wim Wenders films, particularly Wings of Desire in 1989, where Ekphrasis emerges from the dialogues and archives and sprouts from the city space. The article contrasts the first script treatment with the final result of the film to emphasize how they, together, perform a type of writing with images and exercise Ekphrasis modulations, which also serve as a commentary on the partnership between the writer and director.

Heil Darling is probably the first original Wilder story written for a Hollywood picture. The diegesis plays out in Vienna, at the dawn of Anschluss when Nazi Germany would annex Austria. The script is punctuated by Wilder’s stylistic motifs and contains autobiographical elements. Anti-Semitism appears in a frank and direct manner. This was rare in Wilder’s other work, and the broader American film industry at the time. This essay aims to present and detail this story to a larger audience. Researching unfilmed screenplays incites emotions and attitudes that have been buried in archives for decades

Murat, um jovem turco de origem Berlim, descobre sua homossexualidade. Cada noite ele anda por parques solitários em busca de sua sua primeira experiência sexual. Seu irmão Osman também quer perder a virgindade, mas com uma mulher. Chefe da fa- mília após a morte do pai, Osman é homofóbico. Murat decide fugir da atmosfera opressiva e, assim, atender a Lola, travesti que atua em um clube, e seu namorado,“- Bilidikid”. Entre Murat e Lola nasce uma amizade muito especial.

A ficção especulativa pode ser compreendida como um subgênero da ficção científica que lida com aspectos metafísicos, mais do que com problemas tecnológicos; um gênero que abarca formas de vislumbrar outros futuros possíveis, alternativas a passados históricos e narrativas não miméticas. O curso passará por obras literárias, cinematográficas e reflexões históricas que possuem os desafios da ficção especulativa como um dos seus vetores estéticos e epistemológicos. Dessa forma, analisaremos obras e teorias vinculadas à ficção científica, ao realismo especulativo, à metafísica, ao animismo, ao perspectivismo ameríndio e aos estudos negros contemporâneos.

O curso pretende articular dois campos de pesquisa relativamente recentes e que se encontram num estágio de consolidação no Brasil e internacionalmente. O primeiro é o da arqueologia das mídias, o qual, a partir de uma perspectiva materialista oriunda da teoria da mídia alemã, investiga as descontinuidades históricas nas tecnologias e linguagens das mídias contemporâneas, sobretudo daquelas descartadas pelos processos hegemônicos. O segundo campo é o do realismo especulativo que busca propor novas trilhas filosóficas a partir de um pensamento que vá além das co-relações epistemológicas, da bifurcação da natureza e que proponha uma ontologia orientada ao objeto. Juntos, ambos os campos propiciam uma revisão de diversos aspectos da história do cinema e da teoria cinematográfica contemporânea.