A grande concentração na produção experimental do chamado Ciclo Super-8 coincide com o período do... more A grande concentração na produção experimental do chamado Ciclo Super-8 coincide com o período do regime militar na década de 70 e 80 e, hoje, ainda é um campo de estudo que precisa ser melhor aprofundado, tanto para compreender as questões estéticas desse cinema quanto para ajudar na compreensão do lugar em que foi produzido. Propõe-se, neste artigo, investigar os documentários América Morena I (1977) e América Morena II (1977), filmados em Super-8, pelo jornalista e cineasta recifense Geneton Moraes Neto (1956-2016). Partindo desse pressuposto, é preciso analisar a construção narrativa desses filmes, que trazem imagens de alguns países da América Latina, para entender como era produzir artisticamente em um contexto ditatorial, na década de 70, com a retomada das atividades cinematográficas no estado de Pernambuco.
This present study examines the production of a number of films made by filmmakers associated wit... more This present study examines the production of a number of films made by filmmakers associated with a group that was established in the 80s, at the Federal University of Pernambuco and in the 90s, was consecrated by critics as "the new Pernambuco's cinema". In this group, which set another round of cinema in the state, stand out to the filmmakers, Paulo Caldas, Marcelo Gomes, Cláudio Assis and Lírio Ferreira. The study investigates under what conditions it can treat the existence of a "Pernambuco's cinema", from their production, once these filmmakers choose individual style and may not assume a common proposal on aesthetics. The hypothesis is supported by work that, by their training and similar bonds of friendship, shared values and feelings, these filmmakers constitute a group articulated around a structure of feeling, as this concept was proposed by Raymond Williams. Defined the conditions of social training group, the work is to deal with the identification of recurrences in their production, structure of feeling from that prevailing in his generation and expresses through reciprocal influences on the achievement of the films. Based on studies of the audiovisual language, the study analyzes the feature films made between 1995 and 2008, identifying procedures expressive that configure a style associated with this new cycle of films in Pernambuco.
This present study examines the production of a number of films made by filmmakers associated wit... more This present study examines the production of a number of films made by filmmakers associated with a group that was established in the 80s, at the Federal University of Pernambuco and in the 90s, was consecrated by critics as "the new Pernambuco's cinema". In this group, which set another round of cinema in the state, stand out to the filmmakers, Paulo Caldas, Marcelo Gomes, Cláudio Assis and Lírio Ferreira. The study investigates under what conditions it can treat the existence of a "Pernambuco's cinema", from their production, once these filmmakers choose individual style and may not assume a common proposal on aesthetics. The hypothesis is supported by work that, by their training and similar bonds of friendship, shared values and feelings, these filmmakers constitute a group articulated around a structure of feeling, as this concept was proposed by Raymond Williams. Defined the conditions of social training group, the work is to deal with the identification of recurrences in their production, structure of feeling from that prevailing in his generation and expresses through reciprocal influences on the achievement of the films. Based on studies of the audiovisual language, the study analyzes the feature films made between 1995 and 2008, identifying procedures expressive that configure a style associated with this new cycle of films in Pernambuco.
The proposal of this thesis is to trace a history of cinema in Pernambuco from the formation of g... more The proposal of this thesis is to trace a history of cinema in Pernambuco from the formation of groups of filmmakers who operate in a collaborative mode of production known locally as brodagem. Our purpose is to enrich the historical information about the construction of the affective bonds in an attempt to trace a particular characteristic of the "cinema of brodagem" from the point of view of the representation and representation of feelings. The hypothesis defended by the work is that by guidance in common, generational compatibility, friendship, the frequency to the same environments, the filmmakers are articulated around a visual scene represented by a set of interests, affections and displeasures. The aim is to work with groups of cinema since the recommencement, in the 90s, and with a corpus of films of contemporary fiction of Pernambuco’s cinema, performed in the context of a common production, financed by public notices, with limited budgets and new concepts of distribution. Defined sociocultural conditions of formation of groups, and the local context in which the audiovisual scene is inserted, the study focuses on the images. From the analysis of feature films released between 2008 and 2013, we sought to execute a cinematic mapping of emotions: the feelings of group explicitly praised and suspended affections, only perceived if we enter in the brodagem system.
A grande concentração na produção experimental do chamado Ciclo Super-8 coincide com o período do... more A grande concentração na produção experimental do chamado Ciclo Super-8 coincide com o período do regime militar na década de 70 e 80 e, hoje, ainda é um campo de estudo que precisa ser melhor aprofundado, tanto para compreender as questões estéticas desse cinema quanto para ajudar na compreensão do lugar em que foi produzido. Propõe-se, neste artigo, investigar os documentários América Morena I (1977) e América Morena II (1977), filmados em Super-8, pelo jornalista e cineasta recifense Geneton Moraes Neto (1956-2016). Partindo desse pressuposto, é preciso analisar a construção narrativa desses filmes, que trazem imagens de alguns países da América Latina, para entender como era produzir artisticamente em um contexto ditatorial, na década de 70, com a retomada das atividades cinematográficas no estado de Pernambuco.
This present study examines the production of a number of films made by filmmakers associated wit... more This present study examines the production of a number of films made by filmmakers associated with a group that was established in the 80s, at the Federal University of Pernambuco and in the 90s, was consecrated by critics as "the new Pernambuco's cinema". In this group, which set another round of cinema in the state, stand out to the filmmakers, Paulo Caldas, Marcelo Gomes, Cláudio Assis and Lírio Ferreira. The study investigates under what conditions it can treat the existence of a "Pernambuco's cinema", from their production, once these filmmakers choose individual style and may not assume a common proposal on aesthetics. The hypothesis is supported by work that, by their training and similar bonds of friendship, shared values and feelings, these filmmakers constitute a group articulated around a structure of feeling, as this concept was proposed by Raymond Williams. Defined the conditions of social training group, the work is to deal with the identification of recurrences in their production, structure of feeling from that prevailing in his generation and expresses through reciprocal influences on the achievement of the films. Based on studies of the audiovisual language, the study analyzes the feature films made between 1995 and 2008, identifying procedures expressive that configure a style associated with this new cycle of films in Pernambuco.
This present study examines the production of a number of films made by filmmakers associated wit... more This present study examines the production of a number of films made by filmmakers associated with a group that was established in the 80s, at the Federal University of Pernambuco and in the 90s, was consecrated by critics as "the new Pernambuco's cinema". In this group, which set another round of cinema in the state, stand out to the filmmakers, Paulo Caldas, Marcelo Gomes, Cláudio Assis and Lírio Ferreira. The study investigates under what conditions it can treat the existence of a "Pernambuco's cinema", from their production, once these filmmakers choose individual style and may not assume a common proposal on aesthetics. The hypothesis is supported by work that, by their training and similar bonds of friendship, shared values and feelings, these filmmakers constitute a group articulated around a structure of feeling, as this concept was proposed by Raymond Williams. Defined the conditions of social training group, the work is to deal with the identification of recurrences in their production, structure of feeling from that prevailing in his generation and expresses through reciprocal influences on the achievement of the films. Based on studies of the audiovisual language, the study analyzes the feature films made between 1995 and 2008, identifying procedures expressive that configure a style associated with this new cycle of films in Pernambuco.
The proposal of this thesis is to trace a history of cinema in Pernambuco from the formation of g... more The proposal of this thesis is to trace a history of cinema in Pernambuco from the formation of groups of filmmakers who operate in a collaborative mode of production known locally as brodagem. Our purpose is to enrich the historical information about the construction of the affective bonds in an attempt to trace a particular characteristic of the "cinema of brodagem" from the point of view of the representation and representation of feelings. The hypothesis defended by the work is that by guidance in common, generational compatibility, friendship, the frequency to the same environments, the filmmakers are articulated around a visual scene represented by a set of interests, affections and displeasures. The aim is to work with groups of cinema since the recommencement, in the 90s, and with a corpus of films of contemporary fiction of Pernambuco’s cinema, performed in the context of a common production, financed by public notices, with limited budgets and new concepts of distribution. Defined sociocultural conditions of formation of groups, and the local context in which the audiovisual scene is inserted, the study focuses on the images. From the analysis of feature films released between 2008 and 2013, we sought to execute a cinematic mapping of emotions: the feelings of group explicitly praised and suspended affections, only perceived if we enter in the brodagem system.
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