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Apresentação
6
Timetable
09/11 Wednesday 10/11 Thursday 11/11 Friday
Keynote Speech 2
6. IntermIdia Project 3
09:00 - 10:30 Prof. Lúcia Nagib
Anfiteatro Bento Prado Júnior
Teatro Florestan Fernandes
3. IntermIdia Project 1 7. IntermIdia Project 4
Anfiteatro Bento Prado Júnior Anfiteatro Bento Prado Júnior
7
Conferência 1 / Keynote Speech 1
09/11 - 16:30-18:00 (Teatro Florestan Fernandes)
Generations of film historians, espe- shape the diverse forms that film
cially those exploring the early years shows took. Drawing on pioneer
of their national cinemas, have tend- studies of this mixed economy of
ed to focus on the first appearance screen presentation, such as Alice
of indigenous production – and the Dubina Trusz’s account of pre-cin-
responses of early writers and audi- ema lantern shows in Porto Alegre
ences to this novelty. But more re- and Alejandro Martinez’s study of
cently, historians of visual spectacle visual technologies used in mission-
have traced longer histories of pre- ary work in Paraguay, I want to ar-
sentation that exploited above all the gue that the study of film should not
magic lantern and stereoscopic pho- be limited by an arbitrary concept
tography. Links between panoramic of ‘specificity’, but properly belongs
painting, travel lecturers, magicians within an expanded conception of
and such popular portable new me- media studies. With the rise of ‘me-
dia as the stereograph and picture dia archaeology’ and ‘visual studies’
postcard, point to a more complex as new disciplinary fields, and as we
and varied field of visual representa- experience living in a multi-platform
tion across the nineteenth centu- media economy today, it should be
ry, into which moving pictures ar- easier to understand the intercon-
rived as, indeed, a novelty, but one nection of visual media across more
among many. Scholars of early film than two centuries. Histories of
in Europe and North America have spectacle and audiovisual entertain-
struggled with the prior fetishisa- ment now need to be re-thought and
tion of the ‘primal scene’ of moving eventually re-written, nationally and
pictures, noting how these drew on transnationally, to go beyond the as-
earlier entertainment forms, which sumptions and simplifications of the
often continued to accompany and pioneers.
8
Conferência 2 / Keynote Speech 2
10/11 - 09:00-10:30 (Teatro Florestan Fernandes)
9
Conferência 3 / Keynote Speech 3
10/11 - 16:30-18:00 (Teatro Florestan Fernandes)
10
Conferência 4 / Keynote Speech 4
11/11 - 16:30-18:00 (Teatro Florestan Fernandes)
In French as in Portuguese, the word his disciple and founder of the study
“vague”, “vago/a”, has two related of aesthetics, Alexander Gottlieb
meanings that will form the basis Baumgarten, it is only in the realm
of my reflection in this paper: as an of the “clear and confused” that art
adjective, it is synonymous to inde- can thrive. In this view, artistic crea-
terminate or indistinct; as a noun, it tion, and its appreciation, stem from
means the wave (la vague in French, the incompleteness and constant
vaga in Portuguese). This dual mean- variation of the perceived. Artistic
ing of “vague” forms the starting intuition and vision thus cultivate
point of an intermedial exploration the impossibility of a full and per-
of film that takes us, via painting, fect knowledge of the world, most
literature and video, from the films powerfully manifested, according
of the Lumière brothers to a multi- to Leibnitz, in the endless swell and
media installation by André Parente. crash of waves that constitutes the
For Gottfried Wilhelm Leibniz and spectacle of the sea.
11
1
Intermidialidade, teatro e humor/
Intermediality, theater and humour
09/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenador/Chair: Fábio Raddi Uchôa (UTP)
From its beginnings the cinema was the live dubbed films found a great
very much influenced by the theater success amongst us. In addition to
– as it both recurred to the staging of short films, which reproduced mu-
popular theatrical genres (as we can sical numbers in a Gaumont’s pho-
see, for example, in the pictures pro- noscènes style (dubbed, however,
duced by Méliès) and assuming the by singers positioned behind the
theatrical spectator’s point of view. screen), we produced national ver-
A strong proof of that is the great sions of complete operettas, as well
portion of filmed songs produced as the Brazilian “cinematographic re-
by companies such as Pathé and views”, a typical Brazilian genre. This
Gaumont. This communication aims work aims to focus in this last type of
to explicit this relationship from a singing pictures. We’ll study the cine-
national perspective, considering the matographic reviews Peace and Love
peculiarities of the production and and Chantecler (William & C., 1910),
exhibition of the Brazilian “singing considering the influences they had
films”, specially the “cinematograph- of their theatrical congeners – which
ic reviews”. Although the Brazilian were, by their turn, adjustments to
public had (since the beginnings the Brazilian scene of the comic mu-
of the XXth) made contact with the sic theater imported from Europe
European repertoire of filmed songs, such as the vaudeville and the opera
displayed through processes that buffa. We intend to consider mostly
synchronized the cinematograph how these works turned the newspa-
and the phonograph, from 1909 per news into dramaturgy.
12
1
Intermidialidade, teatro e humor/
Intermediality, theater and humour
09/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenador/Chair: Fábio Raddi Uchôa (UTP)
13
1
Intermidialidade, teatro e humor/
Intermediality, theater and humour
09/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenador/Chair: Fábio Raddi Uchôa (UTP)
14
2
Intermidialidade e poéticas / Intermediality and poetics
09/11 - 14:30-16:00 (Auditório 1 - Biblioteca Comunitária)
Coordenadora/Chair: Ramayana Lira de Souza (UNISUL)
15
2
Intermidialidade e poéticas / Intermediality and poetics
09/11 - 14:30-16:00 (Auditório 1 - Biblioteca Comunitária)
Coordenadora/Chair: Ramayana Lira de Souza (UNISUL)
16
2
Intermidialidade e poéticas / Intermediality and poetics
09/11 - 14:30-16:00 (Auditório 1 - Biblioteca Comunitária)
Coordenadora/Chair: Ramayana Lira de Souza (UNISUL)
One of the recurring figures of the montage and its cosmopoetic poten-
most recent filmic approaches to tial: a montage which disorganizes,
the genocide of indigenous people displaces and reshapes the multime-
in Brazilian history is the figure of dia archive of the indigenous geno-
the Indian as spectator – first of all, cide through procedures of fabula-
regarding him/herself; at the same tion (the staging of the massacre and
time, regarding the world – who in- of Carapiru’s itinerary as a survivor
habits a place between images. By and as a world spectator before the
analyzing how this figure shows TV screen, in Tonacci’s film; the per-
up in Serras da Desordem (Andrea formance of land demarcation and
Tonacci, 2006), Corumbiara (Vincent the Ãwa as spectators, in the Borelas’
Carelli, 2009), Taego Ãwa (Henrique film) and of direct record (the search
e Marcela Borela, 2015) and Martírio for evidences of genocide in Carelli’s
(Vincent Careli, co-dir.: Ernesto de Corumbiara and Martírio; the evi-
Carvalho and Tita, 2016), this essay dences of common life which one
interrogates one of the fundamental glances in the breaks of fabulation, in
themes of the relationship between the films by Tonnaci and the Borelas).
film and genocide: the missing im- It is necessary to analyze how anar-
ages. The mentioned films introduce chivic montage articulates images of
a series of supplementary images in different media to supplement the
the empty space of the missing im- missing images of indigenous geno-
ages of the genocide of indigenous cide, revealing both the reinvention
people in Brazil, which can be seen as of indigenous identities and the pro-
gaps in the archive of existing images jection of a cross-cultural community
in different media. The creation of of humanity to the savage spectator,
those supplementary images stems thus inviting every spectator to occu-
from what may be named anarchivic py that looking position.
17
3
IntermIdia Project 1
10/11 - 11:00-12:30 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Luciana Corrêa de Araújo (UFSCar)
18
3
IntermIdia Project 1
10/11 - 11:00-12:30 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Luciana Corrêa de Araújo (UFSCar)
19
3
IntermIdia Project 1
10/11 - 11:00-12:30 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Luciana Corrêa de Araújo (UFSCar)
This paper aims to investigate the and 1930, the paper also examine
connections between record, radio the “soundscape” of the Brazilian
and film industries in Brazil during metropolis during the expansion
the process of generalization of the of film theaters adapted for sound
talking pictures. The goal is to ana- film, the proliferation of record
lyze the economic, social, discursive stores, and growth in sales of radio
and aesthetic relations amid a pro- players. We hope to trace the rela-
cess of technological convergence in tionship between a “synchronized
the field of the mechanical record, [film] fever” trumpeted by the press
transmission and reproduction of and a “gramophoneradiomania”
sound. Taking as its object the city also publicized in newspapers and
of Rio de Janeiro between 1929 magazines.
20
4
Intermidialidade e a escrita do cinema/
Intermediality and film writing
10/11 - 11:00-12:30 (Auditório 1 - Biblioteca Comunitária)
Coordenadora/Chair: Débora Ferri (UNESP)
O cinema em palavras de
Joaquim Pedro de Andrade
Douglas de Magalhães Ferreira (UNESP)
21
4
Intermidialidade e a escrita do cinema/
Intermediality and film writing
10/11 - 11:00-12:30 (Auditório 1 - Biblioteca Comunitária)
Coordenadora/Chair: Débora Ferri (UNESP)
22
4
Intermidialidade e a escrita do cinema/
Intermediality and film writing
10/11 - 11:00-12:30 (Auditório 1 - Biblioteca Comunitária)
Coordenadora/Chair: Débora Ferri (UNESP)
23
5
IntermIdia Project 2
10/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Flávia Cesarino Costa
24
5
IntermIdia Project 2
10/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Flávia Cesarino Costa
Itself an intermedial form, the audio- of films in motion. At the same time,
visual essay is emerging as an im- attempting to develop a detailed
portant tool of research and dissem- argument about the complexity
ination. This presentation will reflect of the moment by means of the
on some of the practicalities and op- moving form of film is not without
portunities provided by this diverse problems, practical, rhetorical and
and developing form, particularly expressive. The presentation will
around the possibilities offered for draw on some of the perspectives
juxtaposing films transnationally, which emerged from participating
and for style-based criticism. The in the NEH-funded workshop at
implicit invitation of the best work Middlebury College, on experiences
in traditional style-based criticism is of creating style-based videograph-
to compare the argument advanced ic criticism and on researching the
on the page with another viewing relationships between Brazilian cin-
of the film, and videographic work ema and other national cinemas. It
provides particularly rich ways of will be illustrated with appropriate
moving between evidence and argu- examples, including collaborative
ment, creating new opportunities to works in progress emerging from
appreciate the detailed organisation the IntermIdia Project.
25
5
IntermIdia Project 2
10/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Flávia Cesarino Costa
26
6
IntermIdia Project 3
11/11 - 09:00-10:30 (Anfiteatro Bento Prado Júnior)
Coordenador/Chair: Samuel Paiva (UFSCar)
Many Pernambucan films produced way that intend to embrace the re-
from the 1990s on have recurrent lation of these referred filmmakers
narrative figures associated with and their works in cinema and other
the music of Manguebeat, especially media. Thus the intermediality be-
those works directed by filmmakers tween cinema, television and music
like Cláudio Assis, Hilton Lacerda, is especially considered as a crucial
Lírio Ferreira, Marcelo Gomes and question for a research focused on
Paulo Caldas, who were present in cinematographic productions. In
the so called “Árido Movie”, a term this way, tensions including fiction
which designates a cinematograph- and documentary, pop references
ic phenomena related to that mu- and spectacular performances are
sical movement. In films by these observed to explore an intermedial
directors there are musical scenes method that comes up to provoke
working as “cinema of attractions”, historical meanings. This sense of
in Eisenstein’s terms, to appeal for History is evocated not only as a
the spectator’s sensorial, synesthet- montage of conflicts noticeable in
ic, haptic and political responses. cinematic texts but also as a materi-
Considering such premise, this pa- ality (video and television) which im-
per investigates musical moments pacts another (cinema) in a moment
as “effects of musical videos”, in a of technologies in transit.
27
6
IntermIdia Project 3
11/11 - 09:00-10:30 (Anfiteatro Bento Prado Júnior)
Coordenador/Chair: Samuel Paiva (UFSCar)
Brazilian director Lírio Ferreira has collage, where the facts are mediat-
produced two documentaries about ed by cultural works and their linear
landmark figures in Brazilian music: narratives are crossed by a multiplic-
Cartola - Música para os Olhos (2007), ity of different previous materials:
directed with Hilton Lacerda and de- films like Rebecca (Alfred Hitchcock,
voted to samba singer Cartola; and 1940) or Vidas Secas (Nelson Pereira
O Homem que Engarrafava Nuvens dos Santos, 1963), songs like Sinfonia
(2009), focused on baião composer do Café (Humberto Teixeira, 1944) or
Humberto Teixeira. Both films relate Tive Sim (Cartola, 1974)... These refer-
the lives of these characters intertwin- ence points are parts of a totality, but
ing their personal facts with certain at the same time are transformed
moments of Brazilian history, thus through Ferreira’s particular use of
composing a double portrait, which montage. Considering intermediality
merges the intimate and the cultural. as a two-way process, in this paper
In this zone between personal and I want to deal with this second pos-
collective, they make a prolific and sibility: not simply that the whole is
creative use of archive materials: old formed by parts, but that the parts
statements, feature films, newsreels gain a new life in contact with oth-
and of course, songs; they compose a er heterogeneous and unexpected
kind of multimedia and multi-layered materials.
28
6
IntermIdia Project 3
11/11 - 09:00-10:30 (Anfiteatro Bento Prado Júnior)
Coordenador/Chair: Samuel Paiva (UFSCar)
This paper examines the aesthetic reproduce, and frame the moment
strategies at work in recent Brazilian of live performance. In doing so the
rock music film, such as Os Paralamas paper will argue that these films’ me-
do Sucesso - Longo Caminho (2002), morialization of the experience of
Titãs - A Vida Até Parece uma Festa live performance, for performer and
(2008), Lenine em Continuação (2009), audience, constructs an inherently
50 Anos do Rock Brasileiro (2014), intermedial cinematic experience
and Cássia Eller (2015). In particular, which speaks to musical histories, is-
I focus on the ways in which textur- sues of national musical identity and
al and haptic dimensions of the im- musical exchange, and cinematic
age are activated in order to invoke, music film traditions.
29
7
IntermIdia Project 4
11/11 - 11:00-12:30 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Alison Butler (UoR)
30
7
IntermIdia Project 4
11/11 - 11:00-12:30 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Alison Butler (UoR)
31
7
IntermIdia Project 4
11/11 - 11:00-12:30 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Alison Butler (UoR)
32
8
Intermidialidade, crítica e teoria de cinema/
Intermediality, film criticism and film theory
11/11 - 11:00-12:30 (Auditório 1 - Biblioteca Comunitária)
Coordenador/Chair: Alfredo Suppia (Unicamp)
33
8
Intermidialidade, crítica e teoria de cinema/
Intermediality, film criticism and film theory
11/11 - 11:00-12:30 (Auditório 1 - Biblioteca Comunitária)
Coordenador/Chair: Alfredo Suppia (Unicamp)
34
8
Intermidialidade, crítica e teoria de cinema/
Intermediality, film criticism and film theory
11/11 - 11:00-12:30 (Auditório 1 - Biblioteca Comunitária)
Coordenador/Chair: Alfredo Suppia (Unicamp)
35
9
Intermidialidade e estética / Intermediality and aesthetics
11/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Alessandra Brandão (UFSC)
Esta proposta tem como objetivo in- à luz imagens - ou ecos do passa-
vestigar a dimensão política e histó- do - que reconfiguram o presente,
rica da música popular brasileira no adicionando diversas camadas de
cinema brasileiro do final do século significado aos filmes. Na relação
XX e início do século XXI sob a pers- intermídia entre música e cinema,
pectiva da voz fantasmal. Em sin- então, a voz fantasmal aparece não
tonia com o pensamento filosófico apenas como fenômeno sonoro fí-
sobre a imagem fantasmal (Georges sico ou elemento de representação,
Didi-Huberman, por exemplo), o mas como a própria força política
conceito de voz fantasmal é criado e estética que sobrevive, tecendo
para entender os modos estéticos complexa rede que justapõe o antes
e políticos com os quais as canções e o depois, o visível e o invisível, as
populares ligam passado e presente, imagens fílmicas e extrafílmicas que
articulando significados diegéticos e reverberam nas formas prismáticas
extradiegéticos produzidos na expe- da memória. Assim, ao analisar o
riência do espectador. Se a gravação uso de canções populares em filmes
do som e a reprodução mecânica brasileiros como Terra estrangeira
permitiram a “sobrevivência” das (1995), Árido movie (2005) e Viajo
vozes cantantes e, de maneira sim- porque preciso, volto porque te amo
bólica, da própria morte, como ar- (2009), por exemplo, mostro que a
gumenta Hans Ulrich Gumbrecht, eu voz, como a imagem (arvo), sempre
defendo que o uso de canções popu- chama por algo que está além dela
lares do passado em filmes recentes e que demanda ser vista com olhos
engendra um eito espectral que traz bem fechados.
36
9
Intermidialidade e estética / Intermediality and aesthetics
11/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Alessandra Brandão (UFSC)
Maneirismo: estado da
imagem cinematográfica em
hibridização com o vídeo
Cyntia Gomes Calhado (PUC-SP/FIAM-FAAM)
37
9
Intermidialidade e estética / Intermediality and aesthetics
11/11 - 14:30-16:00 (Anfiteatro Bento Prado Júnior)
Coordenadora/Chair: Alessandra Brandão (UFSC)
38
10
Intermidialidade e política(s) / Intermediality and politics
11/11 - 14:30-16:00 (Auditório 1 - Biblioteca Comunitária)
Coordenador/Chair: Marcelo Prioste (PUC-SP)
39
10
Intermidialidade e política(s) / Intermediality and politics
11/11 - 14:30-16:00 (Auditório 1 - Biblioteca Comunitária)
Coordenador/Chair: Marcelo Prioste (PUC-SP)
40
10
Intermidialidade e política(s) / Intermediality and politics
11/11 - 14:30-16:00 (Auditório 1 - Biblioteca Comunitária)
Coordenador/Chair: Marcelo Prioste (PUC-SP)
41
Painéis / Posters
10/11 - 18:00-19:00 (Saguão do Teatro Florestan Fernandes)
As soon as the film was no longer the arts, as problems arising from
silent, the exhibitions with musi- the Horatian doctrine of Ut pictura
cal-sounding live coverage fell into poesis and its development over the
disuse, only being redeemed in spo- centuries. “Music is younger sister of
radic events. During the Silent Film painting, because the hearing is less
Journeys, which happened from than the vision...”, said Leonardo in his
2007 through 2012 in the Brazilian paragone; “would it be due to a fatality
Cinematheque, this experience has of decadence the fact that currently
been rediscovered. Local artists were each art expresses the desire to occu-
asked to compose music or sound py the space of the neighboring art?”,
works to the upcoming films, pro- wondered Baudelaire making resist-
duced about a hundred years ago. ance to break limits. The reading of
What is the value of the encounter texts from the past is a condition to
between these arts: intermediality or confront difficulties and reformulate
specificity? This question of rhetorical the historiography of art proposing
order leads our poster that presents reveal its emancipatory character in
a discussion now called “interme- opposition to teleologies and favorit-
diality”, guided by crosses between ism arising.
42
Painéis / Posters
10/11 - 18:00-19:00 (Saguão do Teatro Florestan Fernandes)
43
Painéis / Posters
10/11 - 18:00-19:00 (Saguão do Teatro Florestan Fernandes)
44
I IntermIdia / II Cinemídia
Comitê de Organização/ Margarida Maria Adamatti (UFSCar)
Organising Committee Maurício de Bragança (UFF)
Dra. Flávia Cesarino Costa (UFSCar) Rosana de Lima Soares (USP)
Dra. Luciana Corrêa de Araújo (UFSCar) Samuel José Holanda de Paiva (UFSCar)
Dr. Samuel Paiva (UFSCar) Sheila Schvarzman (Anhembi-Morumbi)
Dra. Suzana Reck Miranda (UFSCar) Suzana Reck Miranda (UFSCar)
Dra. Margarida Adamatti (UFSCar)
IntermIdia Project
Comitê de Organização Discente/ Coordenadora do Projeto/
Student Organising Committee Project Coordinator: Lúcia Nagib
Amanda Mazzini
Debora Taño UFSCar
Danielle Ribeiro Luciana Corrêa de Araújo (Pesquisadora
Emerson Martins Principal/Principal Investigator)
Giovanna Consentini Flávia Cesarino Costa (Co-Pesquisadora/
Maressa Basso Co-Investigator)
Moema Pascoini Samuel Paiva (Co-Pesquisador/Co-Investigator)
Sancler Ebert Suzana Reck Miranda (Co-Pesquisadora/
Tais Freire Co-Investigator)
Margarida Adamatti (Pesquisadora de Pós-
Coordenador Transmissão On Line/ Doutorado/Postgraduate Researcher)
On Line Transmission Coordinator Melina Simardel (Bolsista Treinamento Técnico/
Pedro Dolosic Cordebello Technical Trainee)
Anfiteatro
Bento Prado
Júnior
Teatro Florestan
Fernandes
Restaurante
Realização/Produced by
Pró-Reitoria
de Pós-Graduação
Apoio/Supported by