Pablo Gonçalo
Ph.D., Media Studies (2015)
Federal University of Rio de Janeiro, UFRJ
Thesis: Cinema as a literary refuge: ekphrasis and script, Peter Handke and Wim Wenders, landscapes and archives
Advisor: Dr. Denilson Lopes
Advisors in Germany: Dr. Gertrud Koch and Dr. Joachim Paech.
M.A., Media Studies (2007) University of Brasília, UnB
Dissertation: Life in a house of pixels: documentary and subjectivity in Brazil. Advisor: Dr. Denilson Lopes
B.A., Social Sciences (2003) University of São Paulo, USP.
Supervisors: Prof. Dr. Denilson Lopes, Prof. Dr. Gertrud Koch, and Prof. Dr. Joachim Paech
Federal University of Rio de Janeiro, UFRJ
Thesis: Cinema as a literary refuge: ekphrasis and script, Peter Handke and Wim Wenders, landscapes and archives
Advisor: Dr. Denilson Lopes
Advisors in Germany: Dr. Gertrud Koch and Dr. Joachim Paech.
M.A., Media Studies (2007) University of Brasília, UnB
Dissertation: Life in a house of pixels: documentary and subjectivity in Brazil. Advisor: Dr. Denilson Lopes
B.A., Social Sciences (2003) University of São Paulo, USP.
Supervisors: Prof. Dr. Denilson Lopes, Prof. Dr. Gertrud Koch, and Prof. Dr. Joachim Paech
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Books by Pablo Gonçalo
Foi publicada no dia 03.03.2017
Articles by Pablo Gonçalo
You will find the entire version of the article on this site: http://www.intellectbooks.co.uk/journals/view-Article,id=23418/
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.
Papers by Pablo Gonçalo
Foi publicada no dia 03.03.2017
You will find the entire version of the article on this site: http://www.intellectbooks.co.uk/journals/view-Article,id=23418/
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.
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.