É doutora em Cinema e Audiovisual pelo PPGCINE da Universidade Federal Fluminense. Possui graduação em Comunicação Social - Cinema pela Universidade Federal Fluminense (2004) e mestre em Artes Visuais pela Universidade Federal do Rio de Janeiro (2012). É professora do magistério superior da Escola Superior de Propaganda e Marketing - ESPM Rio. Criou o projeto de extensão Dar a Ver - Núcleo de estudo e formação em funções de apoio à direção de arte audiovisual na UNILA, onde foi professora efetiva de 2014 a 2021. Tem experiência na área de Artes - Cinema, com ênfase em Direção de Arte, atuando principalmente nos seguintes temas: direção de arte, cinema, América Latina, ensino de audiovisual. Integra os grupos de pesquisa NATLA - Núcleo de Arte e Tecnologia Latino-Americano (UNILA) e NIDAA - Núcleo de Investigação em Direção de Arte Audiovisual (UFPE). Atua na área audiovisual desde 1996, assinou direção de arte e participou da produção de arte de diversas obras, entre programas de TV, filmes de curta e longa metragem e séries. É mãe.
Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film opera... more Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film operates an anti-naturalistic visuality based on the planning treatment of space and the creation of a precise chromatic system to present a 15-year-old teenager, shaken by mysterious murders that fascinate and disturb a supposed natural order of desire. In this operation, the image obtained is marked by a dose of artifice, whose “excess” is negatively pointed out in the critical reception of the film in Brazil. The special attention to form in Mate-me-por favor can summon an aesthetic experience of producing presence, in terms of Gumbrecht, or an erotic art, in terms of Susan Sontag. When the critic complains about the lack of elements for interpretation and affirms that in the film “art is an adornment, it is a painting of colors”, it is based on the assumption of the culture of meaning and denies the experience of being overwhelmed by form. Such contempt for the adornment and the color itself dialogues with the process that David Bachelor entitled “chromophobia”: prejudice and elimination of color in Western culture since antiquity, from an understanding of color as superficial, dispensable, or proper to a “Other”, in general, the feminine, the primitive. Based on concepts such as artifice, presence and chromophobia, this article seeks to present a way of looking / feeling Mate-me-please that starts from an examination of pro-film materiality as a key to access a contemporary sensitivity expressed in the image.
Revista Zanzalá: Dossiê Cinema e Feminismos - (Des)construindo gêneros no cinema e no audiovisual, 2022
A partir da elaboração de uma base de dados de longas-metragens brasileiros contemporâneos e de u... more A partir da elaboração de uma base de dados de longas-metragens brasileiros contemporâneos e de uma pesquisa sobre docentes de cursos de audiovisual no país, este artigo apresenta a distribuição por gênero e cor/ raça de diretores, roteiristas e protagonistas dos longas-metragens brasileiros de maior público e bilheteria em salas comerciais entre 1995 e 2016, e a distribuição de gênero, cor/raça e deficiência de docentes e técnicos de cursos de audiovisual. Os resultados demonstram que as desigualdades de gênero e cor/raça estão presentes tanto na produção quanto na docência no audiovisual brasileiro.
Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film opera... more Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film operates an anti-naturalistic visuality based on the planning treatment of space and the creation of a precise chromatic system to present a 15-year-old teenager, shaken by mysterious murders that fascinate and disturb a supposed natural order of desire. In this operation, the image obtained is marked by a dose of artifice, whose “excess” is negatively pointed out in the critical reception of the film in Brazil. The special attention to form in Mate-me-por favor can summon an aesthetic experience of producing presence, in terms of Gumbrecht, or an erotic art, in terms of Susan Sontag. When the critic complains about the lack of elements for interpretation and affirms that in the film “art is an adornment, it is a painting of colors”, it is based on the assumption of the culture of meaning and denies the experience of being overwhelmed by form. Such contempt for the adornment and the color itself dialogues with the process that David Bachelor entitled “chromophobia”: prejudice and elimination of color in Western culture since antiquity, from an understanding of color as superficial, dispensable, or proper to a “Other”, in general, the feminine, the primitive. Based on concepts such as artifice, presence and chromophobia, this article seeks to present a way of looking / feeling Mate-me-please that starts from an examination of pro-film materiality as a key to access a contemporary sensitivity expressed in the image.
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual, 2020
O presente artigo se propõe a traçar apontamentos sobre o trabalho da direção de arte em obras hí... more O presente artigo se propõe a traçar apontamentos sobre o trabalho da direção de arte em obras híbridas onde se entrecruzam regimes documentais e ficcionais em torno da ocupação de espaços arquitetônicos e de processos de transformações urbanas. Serão analisados os filmes Esse Amor que nos Consome de Allan Ribeiro, 2012 e Era o Hotel Cambridge, de Eliane Caffé, 2016 com vistas a pensar os efeitos estéticos e narrativos da presença da marca real do tempo em espaços cênicos de obras onde os limites da ficção e do documentário apresentam-se fissurados por regimes de produção imagética para os quais tal distinção não é mais suficiente, marcados por outros tipos de engajamento e interação entre quem filma e quem é filmado.
Contemporânea Revista de Comunicação e Cultura, 2020
O presente artigo visa analisar as operações estéticas e narrativas envolvidas no processo de mat... more O presente artigo visa analisar as operações estéticas e narrativas envolvidas no processo de materialização mobilizado pela direção de arte na construção do espaço cênico e caracterização dos personagens Zama (Daniel Giménez Cacho) e Joaquim (Julio Machado) nos filmes homônimos a esses personagens, lançados em 2017 e dirigidos por Lucrecia Martel e Marcelo Gomes, respectivamente. Por retratarem representantes das Coroas Espanhola e Portuguesa nascidos na colônia os filmes apresentam jogos de construção indentitária de seus protagonistas no limite entre a afirmação da distinção do colonizador e suas próprias experiências materiais em território colonial, expressos através de sistemas significantes visuais operados pelos figurinos e caracterização de personagens, ambientação e objetos de cena.
A constituição material da cena no cinema narrativo é calcada em pressupostos herdados do teatro ... more A constituição material da cena no cinema narrativo é calcada em pressupostos herdados do teatro burguês europeu que orientam tanto a performance atoral quanto os elementos materiais não humanos, atados pela noção de mise en scène. A direção de arte, enquanto equipe criativa ordenadora das materialidades do espaço cênico e da caracterização de personagens, dialoga com o trabalho de atores e atrizes que através de seus corpos dão vida aos habitantes do mundo diegético. Tal relação será abordada no presente texto através de dois estudos de caso que analisam a intersecção dos elementos materiais operados pela direção de arte com a composição das personagens femininas brasileiras Xica da Silva (Zezé Motta) e Dora (Fernanda Montenegro)
Resumo: O texto analisa a relação entre cinema e arte contemporânea focando no trabalho da artist... more Resumo: O texto analisa a relação entre cinema e arte contemporânea focando no trabalho da artista visual, diretora de arte e realizadora Renata Pinheiro. Se observará como procedimentos estéticos e discursivos advindos do uso de espaços e objetos marcados pelo tempo criam uma dimensão afetiva e sensorial evocativa de outras temporalidades e alteridades, agregando aspectos materiais de memória ao processo de conformação da obra. Para uma melhor aproximação do tema e formulação dos conceitos operativos, observamos outras manifestações artísticas contemporâneas em artistas visuais como Rosângela Rennó, Richard Serra e Simryn Gill e na montagem teatral do grupo Teatro da Vertigem. As obras de Renata Pinheiro que observamos utilizam-se da ressonância da matéria como potencial estético que produz um deslocamento de sentidos anteriormente gerados nas dinâmicas de inserção e uso do objeto em relações sociais outras, anteriores à sua apropriação pela obra. A essa capacidade evocativa denominamos matéria-documento. Somam-se a isto, as propriedades imersivas geradas pela reconfiguração da experiência com o espaço, atributo da obra instalativa, que possibilita ao observador construir sua experiência na inter-relação sensorial entre corpo, obra e contexto.
Rebeca Revista Brasileira de Estudos de Cinema e Audiovisual, 2019
This paper tracks indicators about the work of production design in hybrid works, where documenta... more This paper tracks indicators about the work of production design in hybrid works, where documentary and fictional regimes intersect around the occupation of architectural spaces and urban transformation processes. Esse amor que nos consome (2012), by Allan Ribeiro, and Era o Hotel Cambridge (2016), by Eliane Caffé, will be analyzed to think about the aesthetic and narrative effects of the presence of traces of the real time in scenic spaces of films where the limits of fiction and documentary are fragmented by regimes of image production in which this distinction is no longer sufficient. This is so, once other types of involvement and interaction between who shoots and who is shot are noted.
The material constitution of the scene in the narrative cinema is based on assumptions
inherited... more The material constitution of the scene in the narrative cinema is based on assumptions inherited from the European bourgeois theater that guide both ator performance and non-human material elements, bound by the notion of mise en scène. The production design, as a creative team that manages the materialities of the scenic space and the characterization of characters, is intimately related to the work of actors and actresses who give life to the inhabitants of the diegetic world through their bodies. This relationship will be approached in the present text through two case studies that analyze the intersection of the material elements operated by production design with the composition of the Brazilian female characters Xica da Silva (Zezé Motta) and Dora (Fernanda Montenegro).
Contemporânea Revista de Comunicação e Cultura , 2019
This article aims to analyze aesthetic and narrative operations involved in production design’s m... more This article aims to analyze aesthetic and narrative operations involved in production design’s materialization process during the construction of scenic space and characters Zama (Daniel Giménez Cacho) and Joaquim (Julio Machado) in the films homonymous to these characters, released in 2017 and directed by Lucrecia Martel and Marcelo Gomes. By portraying representatives of the Spanish and Portuguese crowns born in the colony, the films feature games of identity construction by their protagonists on the boundary between the affirmation of the colonizer’s distinction and their own material expe- riences in colonial territory, expressed through significant visual systems operated by costumes and make-up of characters, setting and props.
Criatividade e inovação são palavras-chave que nortearam a edição 2019 do Rio2C Rio Creative Conf... more Criatividade e inovação são palavras-chave que nortearam a edição 2019 do Rio2C Rio Creative Conference. Novos modos de pensar, fazer e viver vêm alterando relações interpessoais, de afeto, trabalho, consumo e lazer. Se muitos processos são movidos por transformações tecnológicas inegáveis, outros respondem a pressões de grupos sociais que demandam por participação nas diversas instâncias da sociedade. Este é o caso das mudanças ocorridas desde fins do século XIX a partir das lutas das mulheres. Se podemos apontar diversos avanços até os dias de hoje, como ampla participação no mercado de trabalho, altos níveis de escolaridade e até mesmo a ocupação de cargos máximos de Estado, ainda há muitos limites à uma efetiva equidade de gêneros.
The present research proposes to analyze the creative field of film production design and its rel... more The present research proposes to analyze the creative field of film production design and its relationship of signification with cinematic language, through the case study of the film L’Inhumaine (Marcel L’ Herbier, 1923). We started from the insertion of cinema in modern cultural events, which deal with the boundaries between reality and representation; we seek in the pro-filmic elements the understanding of the building codes that rule of the visuality created by art direction. As theoretical reference, we used the writing of Ismail Xavier, Marc Vernet, Chistian Metz, among others, and we decided to approach the period of institutionalization of the film industry, being particularly important the film studies of the pioneers and the 1920’s European artistic avant-gardes.
Anais de Textos Completos XXIII SOCINE Preservação e Memória Hoje, 2019
This paper examines time’s traces in Árido Movie’s scenic spaces. Such examina
-
tion interests t... more This paper examines time’s traces in Árido Movie’s scenic spaces. Such examina - tion interests to studies of art direction in contemporary Brazilian cinema as the contact with traces inscribed in constructions, decorative marine objects and landscape rock formations exceed compositional or narrative functions, assuming some autonomy in the triggering of sensitive processes that call other temporalities for the filmic body.
Atas do IX Encontro Anual da AIM ISBN: 978- 989-54365-2-1, 2019
Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film opera... more Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film operates an anti-naturalistic visuality based on the planning treatment of space and the creation of a precise chromatic system to present a 15-year-old teenager, shaken by mysterious murders that fascinate and disturb a supposed natural order of desire. In this operation, the image obtained is marked by a dose of artifice, whose “excess” is negatively pointed out in the critical reception of the film in Brazil. The special attention to form in Mate-me-por favor can summon an aesthetic experience of producing presence, in terms of Gumbrecht, or an erotic art, in terms of Susan Sontag. When the critic complains about the lack of elements for interpretation and affirms that in the film “art is an adornment, it is a painting of colors”, it is based on the assumption of the culture of meaning and denies the experience of being overwhelmed by form. Such contempt for the adornment and the color itself dialogues with the process that David Bachelor entitled “chromophobia”: prejudice and elimination of color in Western culture since antiquity, from an understanding of color as superficial, dispensable, or proper to a “Other”, in general, the feminine, the primitive. Based on concepts such as artifice, presence and chromophobia, this article seeks to present a way of looking / feeling Mate-me-please that starts from an examination of pro-film materiality as a key to access a contemporary sensitivity expressed in the image.
Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film opera... more Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film operates an anti-naturalistic visuality based on the planning treatment of space and the creation of a precise chromatic system to present a 15-year-old teenager, shaken by mysterious murders that fascinate and disturb a supposed natural order of desire. In this operation, the image obtained is marked by a dose of artifice, whose “excess” is negatively pointed out in the critical reception of the film in Brazil. The special attention to form in Mate-me-por favor can summon an aesthetic experience of producing presence, in terms of Gumbrecht, or an erotic art, in terms of Susan Sontag. When the critic complains about the lack of elements for interpretation and affirms that in the film “art is an adornment, it is a painting of colors”, it is based on the assumption of the culture of meaning and denies the experience of being overwhelmed by form. Such contempt for the adornment and the color itself dialogues with the process that David Bachelor entitled “chromophobia”: prejudice and elimination of color in Western culture since antiquity, from an understanding of color as superficial, dispensable, or proper to a “Other”, in general, the feminine, the primitive. Based on concepts such as artifice, presence and chromophobia, this article seeks to present a way of looking / feeling Mate-me-please that starts from an examination of pro-film materiality as a key to access a contemporary sensitivity expressed in the image.
Revista Zanzalá: Dossiê Cinema e Feminismos - (Des)construindo gêneros no cinema e no audiovisual, 2022
A partir da elaboração de uma base de dados de longas-metragens brasileiros contemporâneos e de u... more A partir da elaboração de uma base de dados de longas-metragens brasileiros contemporâneos e de uma pesquisa sobre docentes de cursos de audiovisual no país, este artigo apresenta a distribuição por gênero e cor/ raça de diretores, roteiristas e protagonistas dos longas-metragens brasileiros de maior público e bilheteria em salas comerciais entre 1995 e 2016, e a distribuição de gênero, cor/raça e deficiência de docentes e técnicos de cursos de audiovisual. Os resultados demonstram que as desigualdades de gênero e cor/raça estão presentes tanto na produção quanto na docência no audiovisual brasileiro.
Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film opera... more Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film operates an anti-naturalistic visuality based on the planning treatment of space and the creation of a precise chromatic system to present a 15-year-old teenager, shaken by mysterious murders that fascinate and disturb a supposed natural order of desire. In this operation, the image obtained is marked by a dose of artifice, whose “excess” is negatively pointed out in the critical reception of the film in Brazil. The special attention to form in Mate-me-por favor can summon an aesthetic experience of producing presence, in terms of Gumbrecht, or an erotic art, in terms of Susan Sontag. When the critic complains about the lack of elements for interpretation and affirms that in the film “art is an adornment, it is a painting of colors”, it is based on the assumption of the culture of meaning and denies the experience of being overwhelmed by form. Such contempt for the adornment and the color itself dialogues with the process that David Bachelor entitled “chromophobia”: prejudice and elimination of color in Western culture since antiquity, from an understanding of color as superficial, dispensable, or proper to a “Other”, in general, the feminine, the primitive. Based on concepts such as artifice, presence and chromophobia, this article seeks to present a way of looking / feeling Mate-me-please that starts from an examination of pro-film materiality as a key to access a contemporary sensitivity expressed in the image.
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual, 2020
O presente artigo se propõe a traçar apontamentos sobre o trabalho da direção de arte em obras hí... more O presente artigo se propõe a traçar apontamentos sobre o trabalho da direção de arte em obras híbridas onde se entrecruzam regimes documentais e ficcionais em torno da ocupação de espaços arquitetônicos e de processos de transformações urbanas. Serão analisados os filmes Esse Amor que nos Consome de Allan Ribeiro, 2012 e Era o Hotel Cambridge, de Eliane Caffé, 2016 com vistas a pensar os efeitos estéticos e narrativos da presença da marca real do tempo em espaços cênicos de obras onde os limites da ficção e do documentário apresentam-se fissurados por regimes de produção imagética para os quais tal distinção não é mais suficiente, marcados por outros tipos de engajamento e interação entre quem filma e quem é filmado.
Contemporânea Revista de Comunicação e Cultura, 2020
O presente artigo visa analisar as operações estéticas e narrativas envolvidas no processo de mat... more O presente artigo visa analisar as operações estéticas e narrativas envolvidas no processo de materialização mobilizado pela direção de arte na construção do espaço cênico e caracterização dos personagens Zama (Daniel Giménez Cacho) e Joaquim (Julio Machado) nos filmes homônimos a esses personagens, lançados em 2017 e dirigidos por Lucrecia Martel e Marcelo Gomes, respectivamente. Por retratarem representantes das Coroas Espanhola e Portuguesa nascidos na colônia os filmes apresentam jogos de construção indentitária de seus protagonistas no limite entre a afirmação da distinção do colonizador e suas próprias experiências materiais em território colonial, expressos através de sistemas significantes visuais operados pelos figurinos e caracterização de personagens, ambientação e objetos de cena.
A constituição material da cena no cinema narrativo é calcada em pressupostos herdados do teatro ... more A constituição material da cena no cinema narrativo é calcada em pressupostos herdados do teatro burguês europeu que orientam tanto a performance atoral quanto os elementos materiais não humanos, atados pela noção de mise en scène. A direção de arte, enquanto equipe criativa ordenadora das materialidades do espaço cênico e da caracterização de personagens, dialoga com o trabalho de atores e atrizes que através de seus corpos dão vida aos habitantes do mundo diegético. Tal relação será abordada no presente texto através de dois estudos de caso que analisam a intersecção dos elementos materiais operados pela direção de arte com a composição das personagens femininas brasileiras Xica da Silva (Zezé Motta) e Dora (Fernanda Montenegro)
Resumo: O texto analisa a relação entre cinema e arte contemporânea focando no trabalho da artist... more Resumo: O texto analisa a relação entre cinema e arte contemporânea focando no trabalho da artista visual, diretora de arte e realizadora Renata Pinheiro. Se observará como procedimentos estéticos e discursivos advindos do uso de espaços e objetos marcados pelo tempo criam uma dimensão afetiva e sensorial evocativa de outras temporalidades e alteridades, agregando aspectos materiais de memória ao processo de conformação da obra. Para uma melhor aproximação do tema e formulação dos conceitos operativos, observamos outras manifestações artísticas contemporâneas em artistas visuais como Rosângela Rennó, Richard Serra e Simryn Gill e na montagem teatral do grupo Teatro da Vertigem. As obras de Renata Pinheiro que observamos utilizam-se da ressonância da matéria como potencial estético que produz um deslocamento de sentidos anteriormente gerados nas dinâmicas de inserção e uso do objeto em relações sociais outras, anteriores à sua apropriação pela obra. A essa capacidade evocativa denominamos matéria-documento. Somam-se a isto, as propriedades imersivas geradas pela reconfiguração da experiência com o espaço, atributo da obra instalativa, que possibilita ao observador construir sua experiência na inter-relação sensorial entre corpo, obra e contexto.
Rebeca Revista Brasileira de Estudos de Cinema e Audiovisual, 2019
This paper tracks indicators about the work of production design in hybrid works, where documenta... more This paper tracks indicators about the work of production design in hybrid works, where documentary and fictional regimes intersect around the occupation of architectural spaces and urban transformation processes. Esse amor que nos consome (2012), by Allan Ribeiro, and Era o Hotel Cambridge (2016), by Eliane Caffé, will be analyzed to think about the aesthetic and narrative effects of the presence of traces of the real time in scenic spaces of films where the limits of fiction and documentary are fragmented by regimes of image production in which this distinction is no longer sufficient. This is so, once other types of involvement and interaction between who shoots and who is shot are noted.
The material constitution of the scene in the narrative cinema is based on assumptions
inherited... more The material constitution of the scene in the narrative cinema is based on assumptions inherited from the European bourgeois theater that guide both ator performance and non-human material elements, bound by the notion of mise en scène. The production design, as a creative team that manages the materialities of the scenic space and the characterization of characters, is intimately related to the work of actors and actresses who give life to the inhabitants of the diegetic world through their bodies. This relationship will be approached in the present text through two case studies that analyze the intersection of the material elements operated by production design with the composition of the Brazilian female characters Xica da Silva (Zezé Motta) and Dora (Fernanda Montenegro).
Contemporânea Revista de Comunicação e Cultura , 2019
This article aims to analyze aesthetic and narrative operations involved in production design’s m... more This article aims to analyze aesthetic and narrative operations involved in production design’s materialization process during the construction of scenic space and characters Zama (Daniel Giménez Cacho) and Joaquim (Julio Machado) in the films homonymous to these characters, released in 2017 and directed by Lucrecia Martel and Marcelo Gomes. By portraying representatives of the Spanish and Portuguese crowns born in the colony, the films feature games of identity construction by their protagonists on the boundary between the affirmation of the colonizer’s distinction and their own material expe- riences in colonial territory, expressed through significant visual systems operated by costumes and make-up of characters, setting and props.
Criatividade e inovação são palavras-chave que nortearam a edição 2019 do Rio2C Rio Creative Conf... more Criatividade e inovação são palavras-chave que nortearam a edição 2019 do Rio2C Rio Creative Conference. Novos modos de pensar, fazer e viver vêm alterando relações interpessoais, de afeto, trabalho, consumo e lazer. Se muitos processos são movidos por transformações tecnológicas inegáveis, outros respondem a pressões de grupos sociais que demandam por participação nas diversas instâncias da sociedade. Este é o caso das mudanças ocorridas desde fins do século XIX a partir das lutas das mulheres. Se podemos apontar diversos avanços até os dias de hoje, como ampla participação no mercado de trabalho, altos níveis de escolaridade e até mesmo a ocupação de cargos máximos de Estado, ainda há muitos limites à uma efetiva equidade de gêneros.
The present research proposes to analyze the creative field of film production design and its rel... more The present research proposes to analyze the creative field of film production design and its relationship of signification with cinematic language, through the case study of the film L’Inhumaine (Marcel L’ Herbier, 1923). We started from the insertion of cinema in modern cultural events, which deal with the boundaries between reality and representation; we seek in the pro-filmic elements the understanding of the building codes that rule of the visuality created by art direction. As theoretical reference, we used the writing of Ismail Xavier, Marc Vernet, Chistian Metz, among others, and we decided to approach the period of institutionalization of the film industry, being particularly important the film studies of the pioneers and the 1920’s European artistic avant-gardes.
Anais de Textos Completos XXIII SOCINE Preservação e Memória Hoje, 2019
This paper examines time’s traces in Árido Movie’s scenic spaces. Such examina
-
tion interests t... more This paper examines time’s traces in Árido Movie’s scenic spaces. Such examina - tion interests to studies of art direction in contemporary Brazilian cinema as the contact with traces inscribed in constructions, decorative marine objects and landscape rock formations exceed compositional or narrative functions, assuming some autonomy in the triggering of sensitive processes that call other temporalities for the filmic body.
Atas do IX Encontro Anual da AIM ISBN: 978- 989-54365-2-1, 2019
Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film opera... more Mate me Por Favor (2015) is the debut feature by director Anita Rocha da Silveira. The film operates an anti-naturalistic visuality based on the planning treatment of space and the creation of a precise chromatic system to present a 15-year-old teenager, shaken by mysterious murders that fascinate and disturb a supposed natural order of desire. In this operation, the image obtained is marked by a dose of artifice, whose “excess” is negatively pointed out in the critical reception of the film in Brazil. The special attention to form in Mate-me-por favor can summon an aesthetic experience of producing presence, in terms of Gumbrecht, or an erotic art, in terms of Susan Sontag. When the critic complains about the lack of elements for interpretation and affirms that in the film “art is an adornment, it is a painting of colors”, it is based on the assumption of the culture of meaning and denies the experience of being overwhelmed by form. Such contempt for the adornment and the color itself dialogues with the process that David Bachelor entitled “chromophobia”: prejudice and elimination of color in Western culture since antiquity, from an understanding of color as superficial, dispensable, or proper to a “Other”, in general, the feminine, the primitive. Based on concepts such as artifice, presence and chromophobia, this article seeks to present a way of looking / feeling Mate-me-please that starts from an examination of pro-film materiality as a key to access a contemporary sensitivity expressed in the image.
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Papers by Taina Xavier
fictional regimes intersect around the occupation of architectural spaces and urban transformation
processes. Esse amor que nos consome (2012), by Allan Ribeiro, and Era o Hotel Cambridge (2016), by
Eliane Caffé, will be analyzed to think about the aesthetic and narrative effects of the presence of traces
of the real time in scenic spaces of films where the limits of fiction and documentary are fragmented by
regimes of image production in which this distinction is no longer sufficient. This is so, once other types
of involvement and interaction between who shoots and who is shot are noted.
inherited from the European bourgeois theater that guide both ator performance and
non-human material elements, bound by the notion of mise en scène. The production
design, as a creative team that manages the materialities of the scenic space and the
characterization of characters, is intimately related to the work of actors and actresses
who give life to the inhabitants of the diegetic world through their bodies. This
relationship will be approached in the present text through two case studies that
analyze the intersection of the material elements operated by production design with
the composition of the Brazilian female characters Xica da Silva (Zezé Motta) and Dora
(Fernanda Montenegro).
By portraying representatives of the Spanish and Portuguese crowns born in the colony, the films feature games of identity construction by their protagonists on the boundary between the affirmation of the colonizer’s distinction and their own material expe- riences in colonial territory, expressed through significant visual systems operated by costumes and make-up of characters, setting and props.
Conference Presentations by Taina Xavier
-
tion interests to studies of art direction in contemporary Brazilian cinema as the contact with
traces inscribed in constructions, decorative marine objects and landscape rock formations
exceed compositional or narrative functions, assuming some autonomy in the triggering of
sensitive processes that call other temporalities for the filmic body.
Books by Taina Xavier
fictional regimes intersect around the occupation of architectural spaces and urban transformation
processes. Esse amor que nos consome (2012), by Allan Ribeiro, and Era o Hotel Cambridge (2016), by
Eliane Caffé, will be analyzed to think about the aesthetic and narrative effects of the presence of traces
of the real time in scenic spaces of films where the limits of fiction and documentary are fragmented by
regimes of image production in which this distinction is no longer sufficient. This is so, once other types
of involvement and interaction between who shoots and who is shot are noted.
inherited from the European bourgeois theater that guide both ator performance and
non-human material elements, bound by the notion of mise en scène. The production
design, as a creative team that manages the materialities of the scenic space and the
characterization of characters, is intimately related to the work of actors and actresses
who give life to the inhabitants of the diegetic world through their bodies. This
relationship will be approached in the present text through two case studies that
analyze the intersection of the material elements operated by production design with
the composition of the Brazilian female characters Xica da Silva (Zezé Motta) and Dora
(Fernanda Montenegro).
By portraying representatives of the Spanish and Portuguese crowns born in the colony, the films feature games of identity construction by their protagonists on the boundary between the affirmation of the colonizer’s distinction and their own material expe- riences in colonial territory, expressed through significant visual systems operated by costumes and make-up of characters, setting and props.
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tion interests to studies of art direction in contemporary Brazilian cinema as the contact with
traces inscribed in constructions, decorative marine objects and landscape rock formations
exceed compositional or narrative functions, assuming some autonomy in the triggering of
sensitive processes that call other temporalities for the filmic body.