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AutorXAVIER, Ismail Norberto
TítuloAllegories of underdevelopment: from the aesthetics of hunger to aesthetics of garbage
UniversidadeNew York University, New York
Abragência do estudo1963-1970
GrauPhD
Data de entrega1982
Data de defesa01.01.1983
Descrição físicav.1; 262 f.
DisponibilidadeBiblioteca NYU
Fonteproquest
PublicaçãoXavier, Ismail. Allegories of underdevelopment: aesthetics and politics in modern Brazilian cinema. Minnenapolis, Minnesota University Press, 1997.
ResumoAllegories of undervelopment: from the esthetic of hunger to the esthetic of garbage characterizes, through the examination of selected Brazilian films made between 1963 and 1970, the diverse allegorical representations of the experience of underdevelopment. Focusing on works by Glauber Rocha, Rogerio Sganzerla, Julio Bressane and Andrea Tonacci, the dissertation highlights the transition from the "esthetic of hunger" (Cinema Novo) to the "esthetic of garbage" (post-Cinema Novo in the late sixties), both of with were examples of independent film production opposed to the conventions of dominant industrial cinema. Strutured as a journey through a diachronic series of texts, the analysis deals with each film separetely as a textual system. At the same time, the overall design of the journey allows for a comparative analysis based on a general category - allegory - chosen to provide a unified background for the perception of the transformation from film to film. The concept of allegory helps to account for the basic strategies of the different films, from Rocha's teleology of history to the modes of an anti-teleological cinema that exhibits a progressivily more corrosive irony towards the idea of history as teleology. Allegories of underdevelopment describes the way in which films, from 1963 to 1970, display an increasingly aggressive stance towards their audience; an aggression that, while inflected by the political crisis resulting in the consolidation of the authoritarian right-wing regime, is related to a "questioning the cinematic codes" which leads the independent and political film-maker to a gradual adoption of reflexive strategies. In 1970, reconsidering his relationship with the medium and displaying a more accurate consciousness of the mediation of language in the ideological process, the independent film-maker creates an aggressive metacinema that paves the way, in the seventies, for a deeper reflexion concerning film politics and language within a new production context.




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