- Universidade Federal do Rio de Janeiro (UFRJ), Escola de Comunicação, Graduate Studentadd
Research Interests:
Através do uso de imagens de arquivo privadas (registros caseiros do começo da utilização do VHS), os curtas-metragens do realizador cearense Salomão Santana retiram o passado do seu invólucro confortável de mero “patrimônio” acumulado e... more
Através do uso de imagens de arquivo privadas (registros caseiros do começo da utilização do VHS), os curtas-metragens do realizador cearense Salomão Santana retiram o passado do seu invólucro confortável de mero “patrimônio” acumulado e estabelecem com ele uma relação de choque e estranhamento, trazendo para primeiro plano a influência melancólica e perturbadora de seus tons atmosféricos. Este artigo pretende enxergar melhor a maneira pela qual esse gesto se efetiva sobretudo a parir de duas operações: a montagem e a exploração dos aspectos pictóricos da imagem.
Research Interests:
Research Interests:
Este artigo pretende iluminar três filmes brasileiros contemporâneos - o longa Buraco Negro (Helena Lessa e Petrus de Bairros, 2017) e os curtas O Bando Sagrado (Breno Baptista, 2019) e Barriga de Imagens (Maria Bogado, 2019) - a partir... more
Este artigo pretende iluminar três filmes brasileiros contemporâneos - o longa Buraco Negro (Helena Lessa e Petrus de Bairros, 2017) e os curtas O Bando Sagrado (Breno Baptista, 2019) e Barriga de Imagens (Maria Bogado, 2019) - a partir da noção de Fotogenia, desenvolvida pelo cineasta e teórico Jean Epstein na primeira metade do século XX. Apesar de abordarem temas bastante diferentes, os três filmes partem da mesma dialética peculiar: por um lado, apresentam um evidente despojamento, uma espécie de simplicidade certamente advinda das suas condições de produção. Por outro, tentam enxergar nos corpos e coisas filmadas um "além", algo de fantasmático, que ultrapassa a materialidade concreta imediata - tentam enxergar sua Fotogenia.
Here come the dandies. Always ready to use their wit to change clichés and commonplaces. For them, nothing is quite so serious – except banality . Welcome to an aesthetics in which poses matter more than gestures, sensations implode... more
Here come the dandies. Always ready to use their wit to change clichés and commonplaces. For them, nothing is quite so serious – except banality . Welcome to an aesthetics in which poses matter more than gestures, sensations implode ideas, and masks mean more than reality.
In “Useless, frivolous and distant: in search of the dandies”, André Antônio Barbosa, Denilson Lopes, Pedro Pinheiro Neves and Ricardo Duarte Filho revisit the history of dandyism and the sparkling constellation of writings on this fascinating phenomenon in order to understand the survival of a dandy sensibility in contemporary cinema. In the pages of this book, Baudelaire and Beau Brummel rub elbows with Bertrand Bonello and João Botelho, and Oscar Wilde’s aphorisms shine a light on the work of Wes Anderson and Philippe Garrel.
At the center of this study, we find the dandy spirit in a collection of recent Brazilian films made by the collectives Surto & Deslumbramento, Distruktur, Osso Osso and by multi-artist Sosha. These films are, generally speaking, little seen and even less discussed by critics and academia; their productions and exhibitions take place at the margins of the mainstream; they are made with tiny (or non-existent) budgets and minimal crews, but display a keen eye for the beauty of details, a taste for irony and a surplus of charm and the most exquisite frivolity.
Employing the mythic figure of the dandy as a prism, the authors analyze these films as proponents of an aesthetics of artifice, sidestepping a western tradition of privileging art as interpretation and documentation of reality.
In “Useless, frivolous and distant: in search of the dandies”, André Antônio Barbosa, Denilson Lopes, Pedro Pinheiro Neves and Ricardo Duarte Filho revisit the history of dandyism and the sparkling constellation of writings on this fascinating phenomenon in order to understand the survival of a dandy sensibility in contemporary cinema. In the pages of this book, Baudelaire and Beau Brummel rub elbows with Bertrand Bonello and João Botelho, and Oscar Wilde’s aphorisms shine a light on the work of Wes Anderson and Philippe Garrel.
At the center of this study, we find the dandy spirit in a collection of recent Brazilian films made by the collectives Surto & Deslumbramento, Distruktur, Osso Osso and by multi-artist Sosha. These films are, generally speaking, little seen and even less discussed by critics and academia; their productions and exhibitions take place at the margins of the mainstream; they are made with tiny (or non-existent) budgets and minimal crews, but display a keen eye for the beauty of details, a taste for irony and a surplus of charm and the most exquisite frivolity.
Employing the mythic figure of the dandy as a prism, the authors analyze these films as proponents of an aesthetics of artifice, sidestepping a western tradition of privileging art as interpretation and documentation of reality.