OJS (Centro de Investigação em Artes e Comunicação)
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A recriação revolucionária da viagem de Ulisses por Natália Correia em A Ilha de Circe
Full text linkThe Island of Circe, published in 1983 by Natália Correia, centres its action in the holiday trip of Negrão’s family to the island of Madeira. Adriano, the young male son, is one of the main characters. He falls in love with an older woman, precisely Ritinha’s mother, the girl who feels attracted to him. As a way of seducing her beloved, Adriano deals with the grownup people and takes acknowledge of Emmeline Hurst, known as “Miss Hurst”, an octogenarian Englishwoman who has lived on the island of Madeira for many years. As a writer dedicated to the investigation of the Homeric Odyssey, Miss Hurst deconstructs, in a revolutionary thesis, Ulysses’ famous return trip to his homeland. It is on this fantastic – or absurd – recreation that this essay will focus. We will show how Natália Correia reads the Homeric tradition through Miss Hurst, the respected “odysseyologist”, as the narrator calls her and by whom the characters of the story take her. A comparison between what can be found in the Odyssey and what Miss Hurst defends will be the main structure of our article.The Island of Circe, published in 1983 by Natália Correia, centres its action in the holiday trip of Negrão’s family to the island of Madeira. Adriano, the young male son, is one of the main characters. He falls in love with an older woman, precisely Ritinha’s mother, the girl who feels attracted to him. As a way of seducing her beloved, Adriano deals with the grownup people and takes acknowledge of Emmeline Hurst, known as “Miss Hurst”, an octogenarian Englishwoman who has lived on the island of Madeira for many years. As a writer dedicated to the investigation of the Homeric Odyssey, Miss Hurst deconstructs, in a revolutionary thesis, Ulysses’ famous return trip to his homeland. It is on this fantastic – or absurd – recreation that this essay will focus. We will show how Natália Correia reads the Homeric tradition through Miss Hurst, the respected “odysseyologist”, as the narrator calls her and by whom the characters of the story take her. A comparison between what can be found in the Odyssey and what Miss Hurst defends will be the main structure of our article.A Ilha de Circe, novela que Natália Correia publica em 1983, trata da viagem de férias da família Negrão à ilha da Madeira. Aí, Adriano, o filho, ainda jovem, além de se enfeitiçar de amores por uma mulher mais velha, precisamente a mãe de Ritinha, a que espera daquele rapaz uma correspondência de namoro, contacta com Emmeline Hurst, mais conhecida por “Miss Hurst”, uma octogenária inglesa residente na ilha da Madeira há largos anos. Escritora dedicada à investigação da Odisseia homérica, Miss Hurst desconstrói, numa tese revolucionária, a célebre viagem de regresso de Ulisses à sua pátria. É sobre esta fantástica – ou absurda – desconstrução que se debruça este artigo, no qual se mostrará como Natália Correia recria a tradição homérica através de Miss Hurst, a respeitada “odisseióloga”, como lhe chama o narrador e por quem a tomam as personagens em A Ilha de Circe. Neste sentido, apresenta-se uma análise comparativa entre os lugares por onde Ulisses passou, a partir da Odisseia, e aqueles que Miss Hurst defende terem sido, na sua perspetiva, as verdadeiras paragens do rei de Ítaca
El invierno en Lisboa: Semiose de um lugar turístico no romance de Muñoz Molina e no filme de Zorrilla
Full text linkThe possibility of incorporating the visit of fictional or non-existent places into the universe of Literary Tourism (Butler, 2022: 79) finds a fruitful field of enquiry in the novel El invierno en Lisboa, by Antonio Muñoz Molina (1987), and in the film of the same name by José Antonio Zorrilla (1991). This article first analyses the way in which Molina’s work gives the representation of space, especially the city of Lisbon, a peculiar treatment, marked simultaneously by the promotion of its actantial importance and the denial of its toponymic identity. In this analysis, it examines the editorial responses to this idiosyncratic trait, namely through the covers of some international editions of Molina’s novel. It then reflects on the spatial representation strategies applied by José Antonio Zorrilla in the film inspired by Molina’s novel and shot in the cities of San Sebastián, Madrid and Lisbon, using the data gathered to discuss the hermeneutic value of the possibility and impossibility of recognising the places in the Portuguese capital where the protagonist lives.
Finally, it questions the possibility of a tourist experience emulating the hermeneutic effect resulting from the spatial representation options used in El invierno en Lisboa, both in its novel and film form.The possibility of incorporating the visit of fictional or non-existent places into the universe of Literary Tourism (Butler, 2022: 79) finds a fruitful field of enquiry in the novel El invierno en Lisboa, by Antonio Muñoz Molina (1987), and in the film of the same name by José Antonio Zorrilla (1991). This article first analyses the way in which Molina’s work gives the representation of space, especially the city of Lisbon, a peculiar treatment, marked simultaneously by the promotion of its actantial importance and the denial of its toponymic identity. In this analysis, it examines the editorial responses to this idiosyncratic trait, namely through the covers of some international editions of Molina’s novel. It then reflects on the spatial representation strategies applied by José Antonio Zorrilla in the film inspired by Molina’s novel and shot in the cities of San Sebastián, Madrid and Lisbon, using the data gathered to discuss the hermeneutic value of the possibility and impossibility of recognising the places in the Portuguese capital where the protagonist lives.
Finally, it questions the possibility of a tourist experience emulating the hermeneutic effect resulting from the spatial representation options used in El invierno en Lisboa, both in its novel and film form.A possibilidade de incorporar, no universo do Turismo Literário, a visita de lugares ficcionais ou não existentes (Butler, 2022: 79) encontra no romance El invierno en Lisboa, de Antonio Muñoz Molina (1987), e no filme homónimo de José Antonio Zorrilla (1991), um profícuo campo de indagação. Este artigo analisa, num primeiro momento, a forma como esta obra de Molina confere à representação do espaço, em especial da cidade de Lisboa, um tratamento peculiar, marcado, em simultâneo, pela promoção da sua importância actancial e pela denegação da sua identidade toponímica. Nessa análise, examina as respostas editoriais a esse traço idiossincrásico, nomeadamente através das capas de algumas edições internacionais deste romance de Molina. Reflete, depois, sobre as estratégias de representação espacial da cidade de Lisboa aplicadas por José Antonio Zorrilla no filme inspirado pelo romance de Molina e filmado, também, em San Sebastián e Madrid, apoiando-se nos dados assim recolhidos para discutir o valor hermenêutico da possibilidade e da impossibilidade de reconhecimento dos lugares da capital portuguesa onde o protagonista evolui.
Por fim, questiona-se a possibilidade de uma proposta de experiência turística emular o efeito hermenêutico decorrente das opções de representação espacial em que se apoia El invierno en Lisboa, nas suas conformações romanesca e fílmica
Word-Image-Movement: Contributions of typography for modern and contemporary artistic discourse
Full text linkO presente artigo objetiva realizar uma breve abordagem analítica sobre o papel semântico e estético da palavra escrita e da tipografia entre finais do século XIX e a atualidade, dando particular atenção à sua perceção e utilização em sistemas audiovisuais e digitais. Analisando um conjunto lato de períodos, obras e artistas, pretende-se perceber o potencial da tipografia no discurso artístico contemporâneo, explorando, principalmente, as componentes visual, dinâmica e interativa na tipografia moderna e contemporânea. O estudo teórico aqui descrito sustentará, em parte, um projeto que prevê a criação artística de múltiplos artefactos audiovisuais e digitais, produzidos a partir do espólio documental e textual de Fernando Gonçalves Lavrador. O propósito desta iniciativa assenta na divulgação deste mesmo acervo através de uma exposição, onde serão apropriados os textos de Fernando Lavrador – atualmente preservados pelo Cine-Clube de Avanca – transformando-os em artefactos em que confluam elementos textuais, imagéticos e cinéticos. Até à realização da exposição, que se prevê acontecer em 2024, será desenvolvido um processo de preparação e experimentação de diferentes linguagens, estilos, técnicas e materiais. Os resultados obtidos até ao momento – três curtas-metragens – serão igualmente apresentados neste artigo. Este ato preparatório que antecede a apropriação do espólio tem como objetivo refinar os processos criativos em torno desta temática e estudar novas possibilidades de utilizar a tipografia como componente artística num sistema computacional e videográfico.This paper aims to carry out a brief analytical approach about the semantic and aesthetic role of the written word and typography between the end of the 19th century and the present moment, paying particular attention to its perception and use in audiovisual and digital systems. Analyzing a wide range of periods, works and artists, the purpose is to understand the potential of typography in the contemporary artistic discourse, mainly exploring the visual, dynamic and interactive components in modern and contemporary typography. The theoretical study described here will support, in part, a project that foresees the artistic creation of multiple audiovisual and digital artifacts, produced from the documental and textual collection of Fernando Gonçalves Lavrador. The objective of this initiative is the dissemination of this same collection through one exhibition, where Fernando Lavrador’s texts – currently preserved by Cine-Clube de Avanca – will be appropriated, transforming them into artifacts that combine textual, imagery and kinetic elements. Until the exhibition takes place, which is expected to happen in 2024, a process of preparation and experimentation with different languages, styles, techniques and materials will be developed. The results obtained so far – three short films – will also be presented in this paper. This preparatory act that precedes the appropriation of the heritage aims to refine the creative processes around this theme and study new possibilities of using typography as an artistic component in a computational and videographic system.This paper aims to carry out a brief analytical approach about the semantic and aesthetic role of the written word and typography between the end of the 19th century and the present moment, paying particular attention to its perception and use in audiovisual and digital systems. Analyzing a wide range of periods, works and artists, the purpose is to understand the potential of typography in the contemporary artistic discourse, mainly exploring the visual, dynamic and interactive components in modern and contemporary typography. The theoretical study described here will support, in part, a project that foresees the artistic creation of multiple audiovisual and digital artifacts, produced from the documental and textual collection of Fernando Gonçalves Lavrador. The objective of this initiative is the dissemination of this same collection through one exhibition, where Fernando Lavrador’s texts – currently preserved by Cine-Clube de Avanca – will be appropriated, transforming them into artifacts that combine textual, imagery and kinetic elements. Until the exhibition takes place, which is expected to happen in 2024, a process of preparation and experimentation with different languages, styles, techniques and materials will be developed. The results obtained so far – three short films – will also be presented in this paper. This preparatory act that precedes the appropriation of the heritage aims to refine the creative processes around this theme and study new possibilities of using typography as an artistic component in a computational and videographic system.This paper aims to carry out a brief analytical approach about the semantic and aesthetic role of the written word and typography between the end of the 19th century and the present moment, paying particular attention to its perception and use in audiovisual and digital systems. Analyzing a wide range of periods, works and artists, the purpose is to understand the potential of typography in the contemporary artistic discourse, mainly exploring the visual, dynamic and interactive components in modern and contemporary typography. The theoretical study described here will support, in part, a project that foresees the artistic creation of multiple audiovisual and digital artifacts, produced from the documental and textual collection of Fernando Gonçalves Lavrador. The objective of this initiative is the dissemination of this same collection through one exhibition, where Fernando Lavrador’s texts – currently preserved by Cine-Clube de Avanca – will be appropriated, transforming them into artifacts that combine textual, imagery and kinetic elements. Until the exhibition takes place, which is expected to happen in 2024, a process of preparation and experimentation with different languages, styles, techniques and materials will be developed. The results obtained so far – three short films – will also be presented in this paper. This preparatory act that precedes the appropriation of the heritage aims to refine the creative processes around this theme and study new possibilities of using typography as an artistic component in a computational and videographic system
Gothic Ocean in S. T. Coleridge’s The Rime of the Ancient Mariner
Full text linkColonial travel gave a decisive rise both to the proliferation of travel stories and the desire for tourist travel as colonizers and merchants brought stories of new, exciting, but also dangerous worlds. It is this latter, unsettling aspect of travel and tourism that the paper is interested in. Taking into consideration the liquid, unfixable nature of the oceanic setting, the paper will focus on S. T. Coleridge’s The Rime of the Ancient Mariner (1798) to argue that the ocean represents a Gothic space. Due to its constantly changing nature, which unsettles the boundaries between the material and the psychological, real and imagined, the visible and the hidden, the sea literally and symbolically disorients the protagonist and pushes him toward the realm of the supernatural. The trials of maritime travel depicted as a form of (involuntary) Gothic tourism represent the ordeals of questioning dominant perspectives, of acknowledging the unthinkable, and therefore the transgressive. The ocean becomes a nexus of both the forces of life and death which changes the Ancient Mariner’s view of both the world/nature and the humankind; it is also a liminal space where the Mariner is awarded knowledge of the previously unknown. However, this realization is not liberating, but represented as a curse. In relying on the theory of the Gothic, Gothic tourism, and the current perspectives on the maritime environment, the paper will show that Coleridge’s Romantic poem offers a Gothic, transcendent, and unsettling view of both the ocean – as a natural and touristic space – and the human nature
Crime e mistério ao redor do Pianista de Truffaut
Full text linkAhead of its time, Tirez sur le Pianiste (Shoot the Pianist) is a 1960 French film, which can be included in the film noir genre, although it was made in the spirit of the Nouvelle Vague by François Truffaut, also co-author of the screenplay with Marcel Moussy, from David Goodis’ contemporary crime novel Down There. It is a quite free adaptation which was produced by Pierre Braunberger for Les Films de La Pléiade. In this film noir with notes of comedy, drama and romance, the adventures of the mysterious pianist Charlie Kohler are narrated when he finds himself unintentionally involved in the criminal underworld and in a new love passion. Intended tribute of the director to the classic American and European film noir, in this cinematographic work, however, he proceeds to an experimental juxtaposition of styles, since the filmmaker mixes genres and emotions, leading us from suspense to comic dialogues and flashbacks into the melodramatic past of the pianist. Truffaut enjoys himself and us by multiplying the surprises and the digressions. In fact, the crime and mystery intrigue that takes place throughout the film and actively participates in its construction serves, above all, as a pretext for the approach to the main theme of Truffaut’s cinematography: love and the complexity of human relations. Hence the fascination that this film continues to exert with cinema lovers.Ahead of its time, Tirez sur le Pianiste (Shoot the Pianist) is a 1960 French film, which can be included in the film noir genre, although it was made in the spirit of the Nouvelle Vague by François Truffaut, also co-author of the screenplay with Marcel Moussy, from David Goodis’ contemporary crime novel Down There. It is a quite free adaptation which was produced by Pierre Braunberger for Les Films de La Pléiade. In this film noir with notes of comedy, drama and romance, the adventures of the mysterious pianist Charlie Kohler are narrated when he finds himself unintentionally involved in the criminal underworld and in a new love passion. Intended tribute of the director to the classic American and European film noir, in this cinematographic work, however, he proceeds to an experimental juxtaposition of styles, since the filmmaker mixes genres and emotions, leading us from suspense to comic dialogues and flashbacks into the melodramatic past of the pianist. Truffaut enjoys himself and us by multiplying the surprises and the digressions. In fact, the crime and mystery intrigue that takes place throughout the film and actively participates in its construction serves, above all, as a pretext for the approach to the main theme of Truffaut’s cinematography: love and the complexity of human relations. Hence the fascination that this film continues to exert with cinema lovers.Ahead of its time, Tirez sur le Pianiste (Shoot the Pianist) is a 1960 French film, which can be included in the film noir genre, although it was made in the spirit of the Nouvelle Vague by François Truffaut, also co-author of the screenplay with Marcel Moussy, from David Goodis’ contemporary crime novel Down There. It is a quite free adaptation which was produced by Pierre Braunberger for Les Films de La Pléiade. In this film noir with notes of comedy, drama and romance, the adventures of the mysterious pianist Charlie Kohler are narrated when he finds himself unintentionally involved in the criminal underworld and in a new love passion. Intended tribute of the director to the classic American and European film noir, in this cinematographic work, however, he proceeds to an experimental juxtaposition of styles, since the filmmaker mixes genres and emotions, leading us from suspense to comic dialogues and flashbacks into the melodramatic past of the pianist. Truffaut enjoys himself and us by multiplying the surprises and the digressions. In fact, the crime and mystery intrigue that takes place throughout the film and actively participates in its construction serves, above all, as a pretext for the approach to the main theme of Truffaut’s cinematography: love and the complexity of human relations. Hence the fascination that this film continues to exert with cinema lovers.À frente do seu tempo, Tirez sur le Pianiste (Disparem sobre o Pianista) é um filme francês de 1960, que podemos incluir no género film noir, embora realizado no espírito da Nouvelle Vague por François Truffaut, também coautor do argumento com Marcel Moussy, a partir do romance policial contemporâneo de David Goodis, Down There. Trata-se de uma adaptação bastante livre, produzida por Pierre Braunberger para Les Films de La Pléiade. Neste film noir com apontamentos de comédia, drama e romance, narra-se as aventuras do misterioso pianista Charlie Kohler quando se vê involuntariamente envolvido no submundo do crime e numa nova paixão amorosa. Pretendida homenagem do realizador ao clássico film noir americano e europeu, nesta obra cinematográfica, procede-se, contudo, a uma experimental justaposição de estilos, uma vez que o cineasta mistura géneros e emoções, levando-nos do suspense aos diálogos cómicos e aos flashbacks ao passado melodramático do pianista. Truffaut diverte-se e diverte-nos, multiplicando as surpresas e as digressões. Na verdade, a intriga de crime e mistério que decorre ao longo de todo o filme e participa ativamente na sua construção serve, sobretudo, de pretexto para a abordagem da temática principal da cinematografia de Truffaut: o amor e a complexidade das relações humanas. Daí decorre o fascínio que este filme continua a exercer junto dos cinéfilos
Perspetivas artísticas das corporalidades agenciais (in)orgânicas no laboratório científico
Full text linkPost-humanist and post-anthropocentric theories question the values of humanism that perpetuate human dominance and the dual worldview. In this way, they conceive of nature-culture as a continuum rather than a dichotomy, affirm that matter is part of culture and technology, and break with the idea of the human being as the supreme species in the evolutionary chain. Within this sphere of principles fits the theory of New Materialism, specifically Karen Barad’s Agential Realism, which advocates a post-humanist performativity in which matter, human and non-human, has agency and is dynamically intra-active, allowing for a continuous reconfiguration of the world. In order to structure a theoretical-practical convergence, this article seeks to articulate Barad’s theory with aspects of contemporary art. In the first part, establishing connections with artistic practices in scientific laboratories, paying particular attention to microagencies and the dynamics of microperformativity, and in the second part, giving emphasis to laboratory staging in artistic exhibitions, to the scientific instruments and apparatuses used and the inherent aspects of biomediality. Concluding that the aforementioned artistic and curatorial practices are important mediation elements in establishing an articulation and understanding between the theory of Agential Realism and laboratory practices, not rarely, inaccessible to the public. In this way, it offers the possibility of knowledge and discernment of this continuous reconfiguration of the world, from a different perspective of the standard narrative that positions the human being as the epitome of the world’s becoming.Post-humanist and post-anthropocentric theories question the values of humanism that perpetuate human dominance and the dual worldview. In this way, they conceive of nature-culture as a continuum rather than a dichotomy, affirm that matter is part of culture and technology, and break with the idea of the human being as the supreme species in the evolutionary chain. Within this sphere of principles fits the theory of New Materialism, specifically Karen Barad’s Agential Realism, which advocates a post-humanist performativity in which matter, human and non-human, has agency and is dynamically intra-active, allowing for a continuous reconfiguration of the world. In order to structure a theoretical-practical convergence, this article seeks to articulate Barad’s theory with aspects of contemporary art. In the first part, establishing connections with artistic practices in scientific laboratories, paying particular attention to microagencies and the dynamics of microperformativity, and in the second part, giving emphasis to laboratory staging in artistic exhibitions, to the scientific instruments and apparatuses used and the inherent aspects of biomediality. Concluding that the aforementioned artistic and curatorial practices are important mediation elements in establishing an articulation and understanding between the theory of Agential Realism and laboratory practices, not rarely, inaccessible to the public. In this way, it offers the possibility of knowledge and discernment of this continuous reconfiguration of the world, from a different perspective of the standard narrative that positions the human being as the epitome of the world’s becoming.Post-humanist and post-anthropocentric theories question the values of humanism that perpetuate human dominance and the dual worldview. In this way, they conceive of nature-culture as a continuum rather than a dichotomy, affirm that matter is part of culture and technology, and break with the idea of the human being as the supreme species in the evolutionary chain. Within this sphere of principles fits the theory of New Materialism, specifically Karen Barad’s Agential Realism, which advocates a post-humanist performativity in which matter, human and non-human, has agency and is dynamically intra-active, allowing for a continuous reconfiguration of the world. In order to structure a theoretical-practical convergence, this article seeks to articulate Barad’s theory with aspects of contemporary art. In the first part, establishing connections with artistic practices in scientific laboratories, paying particular attention to microagencies and the dynamics of microperformativity, and in the second part, giving emphasis to laboratory staging in artistic exhibitions, to the scientific instruments and apparatuses used and the inherent aspects of biomediality. Concluding that the aforementioned artistic and curatorial practices are important mediation elements in establishing an articulation and understanding between the theory of Agential Realism and laboratory practices, not rarely, inaccessible to the public. In this way, it offers the possibility of knowledge and discernment of this continuous reconfiguration of the world, from a different perspective of the standard narrative that positions the human being as the epitome of the world’s becoming.As teorias pós-humanistas e pós-antropocêntricas questionam os valores do humanismo que perpetuam o domínio humano e a visão dual do mundo. Desta forma, concebem a natureza-cultura como um continuum, e não como uma dicotomia, afirmam que a matéria faz parte da cultura e da tecnologia, e rompem com a ideia do ser humano como espécie suprema na cadeia evolutiva. Dentro desta esfera de princípios, cabe a teoria do Novo Materialismo, mais especificamente o Realismo Agencial, de Karen Barad, que defende uma performatividade pós-humanista em que as matérias, humanas e não-humanas, têm agência e são dinamicamente intra-ativas, permitindo uma reconfiguração contínua do mundo. Com o intuito de estruturar uma convergência teórico-prática, o presente artigo procura articular a teoria de Barad com aspetos da arte contemporânea. Numa primeira parte, estabelecendo ligações com as práticas artísticas em laboratórios científicos, atendendo, particularmente, às microagências e às dinâmicas de microperformatividade. Na segunda parte, dando relevo às encenações laboratoriais em exibições artísticas, aos instrumentos e aparatos científicos utilizados e aos aspetos de biomedialidade inerentes. Conclui-se que as práticas artísticas e curatoriais mencionadas são elementos de mediação importantes no estabelecimento de uma articulação e entendimento entre a teoria do Realismo Agencial e as práticas laboratoriais, não raramente, inacessíveis para o público. Comportando, desta forma, a possibilidade de conhecimento e discernimento dessa reconfiguração contínua do mundo, a partir de uma perspetiva díspar da narrativa padrão que posiciona o ser humano como epítome do devir do mundo
Faria, um maître do cartaz cinematográfico
Full text linkThe present work, based on a doctoral thesis of the author, proposes an expanded view of studies focused on cinema by presenting the work of the Brazilian graphic artist Cândido Aragonez de Faria, in the Parisian period of his production (1882–1911), when he became a notable graphic artist specialized in the entertainment industry and as a pioneer of cinematographic posters. Discusses the term petit maître that is usually attributed to it and proposes a review of the history of graphic communication that also contemplates the artists considered by “average” as an object of study. Addresses the valuation of the poster at the end of the nineteenth century, largely anchored in a modernist perspective of construction of its history, a factor that contributed to the later historical erasure of this artist. Emphasizes the role of the photographic image as the main imagery reference in the graphic work of Cândido de Faria and taste for the “realism” of the audiences in this period. Addresses his pioneering production of posters for the film company Pathé, highlighting his protagonism as a collaborator inserted in the strategies of presentation and legitimation of the first cinema adopted by this company, as well as the influence of different instances of the urban visual culture of this period in his work. Finally, it claims the insertion of Cândido de Faria, and other artists who like him were committed to the “business of the printed image”, as deserving of further academic investigation.The present work, based on a doctoral thesis of the author, proposes an expanded view of studies focused on cinema by presenting the work of the Brazilian graphic artist Cândido Aragonez de Faria, in the Parisian period of his production (1882–1911), when he became a notable graphic artist specialized in the entertainment industry and as a pioneer of cinematographic posters. Discusses the term petit maître that is usually attributed to it and proposes a review of the history of graphic communication that also contemplates the artists considered by “average” as an object of study. Addresses the valuation of the poster at the end of the nineteenth century, largely anchored in a modernist perspective of construction of its history, a factor that contributed to the later historical erasure of this artist. Emphasizes the role of the photographic image as the main imagery reference in the graphic work of Cândido de Faria and taste for the “realism” of the audiences in this period. Addresses his pioneering production of posters for the film company Pathé, highlighting his protagonism as a collaborator inserted in the strategies of presentation and legitimation of the first cinema adopted by this company, as well as the influence of different instances of the urban visual culture of this period in his work. Finally, it claims the insertion of Cândido de Faria, and other artists who like him were committed to the “business of the printed image”, as deserving of further academic investigation.The present work, based on a doctoral thesis of the author, proposes an expanded view of studies focused on cinema by presenting the work of the Brazilian graphic artist Cândido Aragonez de Faria, in the Parisian period of his production (1882–1911), when he became a notable graphic artist specialized in the entertainment industry and as a pioneer of cinematographic posters. Discusses the term petit maître that is usually attributed to it and proposes a review of the history of graphic communication that also contemplates the artists considered by “average” as an object of study. Addresses the valuation of the poster at the end of the nineteenth century, largely anchored in a modernist perspective of construction of its history, a factor that contributed to the later historical erasure of this artist. Emphasizes the role of the photographic image as the main imagery reference in the graphic work of Cândido de Faria and taste for the “realism” of the audiences in this period. Addresses his pioneering production of posters for the film company Pathé, highlighting his protagonism as a collaborator inserted in the strategies of presentation and legitimation of the first cinema adopted by this company, as well as the influence of different instances of the urban visual culture of this period in his work. Finally, it claims the insertion of Cândido de Faria, and other artists who like him were committed to the “business of the printed image”, as deserving of further academic investigation.O presente trabalho, baseado numa tese de doutoramento do autor, propõe uma visão ampliada dos estudos voltados ao cinema ao apresentar a obra do artista gráfico brasileiro Cândido Aragonez de Faria, no período parisiense de sua produção (1882–1911), quando este se notabilizou artista gráfico especializado na indústria do entretenimento e como um pioneiro da cartazística cinematográfica. Discorre sobre o termo petit maître que usualmente lhe é atribuído e propõe uma revisão da história da comunicação gráfica que também contemple os artistas tidos por “medianos” como objeto de estudo. Aborda a valoração do cartaz neste final de século XIX, amplamente ancorada numa perspectiva modernista de construção de sua história, fator que colaborou para o apagamento histórico posterior deste artista. Enfatiza o papel da imagem fotográfica como principal referencial imagético na obra gráfica de Cândido de Faria e gosto pelo “realismo” das plateias neste período. Aborda sua produção pioneira de cartazes para a companhia cinematográfica Pathé, destacando seu protagonismo como colaborador inserido nas estratégias de apresentação e legitimação do primeiro cinema adotadas por esta empresa, bem como a influência de diferentes instâncias da cultura visual urbana deste período em sua obra. Por fim, reivindica a inserção de Cândido de Faria, e outros artistas que como ele estiveram comprometidos com o “negócio da imagem impressa”, como merecedores de maior investigação acadêmica
A serial distrust: conspiracy and blame in the Italian poliziottesco and news media
Full text linkTThe article explores the poliziottesco (Italian Cop Thrillers) to document its contribution to the national debate on political, criminal and institutional violence in the early 1970s. It investigates the representation of the police and the judiciary in films with state-driven conspiracies at the centre of their plots. The article interrogates the possibility of using these films as historical documents by connecting them to news media discourses around the so-called strategia della tensione (strategy of tension), a series of terrorist attacks aiming at artificially raising political tension in Italy. Positioning the films as intermedial texts (Rajewsky, 2005), it is possible to identify shared representational and interpretative strategies between the seriality of Italian newspapers and that of these low-budget and fast-produced genre products. The use of news media as devices and news media narratives in the films allows them to intercept both the trauma related to the outcomes of terrorist attacks and the rage for the lack of effective state action. This approach sheds a new light onto often critically dismissed products and aims at situating them as a place of negotiation for the attribution of blame for the failures of the Italian state in the struggle against political violence.Este artigo explora o filone do poliziottesco (thrillers policiais italianos) para documentar sua contribuição para o debate nacional sobre violência política, criminal e institucional no início da década de 1970. Investiga a representação da polícia e do poder judicial em filmes que apresentam conspirações dirigidas pelo Estado no centro das suas tramas – Esquadrão de Execução (Vanzina 1972), Profissionais Violentos (Martino 1973), Policial Assassino (Ercoli 1975), Ação Silenciosa (Martino 1975). Abordando os debates em curso sobre o cinema popular (filone) italiano (Fisher 2014, 2019; Marlow-Mann 2013; O’Leary 2011), este artigo questiona a possibilidade de usar esses filmes como documentos históricos, conectando-os aos discursos da mídia em torno da chamada estratégia de tensão, uma série de ataques terroristas com o objetivo de aumentar artificialmente a tensão política na Itália. Posicionando os filmes como textos intermediários (Rajewski 2005), é possível identificar estratégias representacionais e interpretativas compartilhadas entre a serialidade dos jornais italianos e a desses produtos de género de baixo orçamento e produção rápida. O uso dos meios de comunicação como dispositivos e a reelaboração das narrativas dos meios de comunicação nos filmes inserem-nos num “ritual político” (Elliot, 1981) elaborando tanto o trauma relacionado com os resultados dos ataques terroristas como a raiva pela falta de ação eficaz do Estado contra eles. Esta abordagem lança uma nova luz sobre produtos muitas vezes rejeitados pela crítica, indo além de interpretações que se concentraram principalmente na natureza derivada dos filmes de género italianos. Em vez disso, pretende situá-los como um lugar de negociação para a atribuição de culpas pelas falhas do Estado italiano na luta contra o terrorismo.The article explores the poliziottesco (Italian Cop Thrillers) to document its contribution to the national debate on political, criminal and institutional violence in the early 1970s. It investigates the representation of the police and the judiciary in films with state-driven conspiracies at the centre of their plots. The article interrogates the possibility of using these films as historical documents by connecting them to news media discourses around the so-called strategia della tensione (strategy of tension), a series of terrorist attacks aiming at artificially raising political tension in Italy. Positioning the films as intermedial texts (Rajewsky, 2005), it is possible to identify shared representational and interpretative strategies between the seriality of Italian newspapers and that of these low-budget and fast-produced genre products. The use of news media as devices and news media narratives in the films allows them to intercept both the trauma related to the outcomes of terrorist attacks and the rage for the lack of effective state action. This approach sheds a new light onto often critically dismissed products and aims at situating them as a place of negotiation for the attribution of blame for the failures of the Italian state in the struggle against political violence.The article explores the poliziottesco (Italian Cop Thrillers) to document its contribution to the national debate on political, criminal and institutional violence in the early 1970s. It investigates the representation of the police and the judiciary in films with state-driven conspiracies at the centre of their plots. The article interrogates the possibility of using these films as historical documents by connecting them to news media discourses around the so-called strategia della tensione (strategy of tension), a series of terrorist attacks aiming at artificially raising political tension in Italy. Positioning the films as intermedial texts (Rajewsky, 2005), it is possible to identify shared representational and interpretative strategies between the seriality of Italian newspapers and that of these low-budget and fast-produced genre products. The use of news media as devices and news media narratives in the films allows them to intercept both the trauma related to the outcomes of terrorist attacks and the rage for the lack of effective state action. This approach sheds a new light onto often critically dismissed products and aims at situating them as a place of negotiation for the attribution of blame for the failures of the Italian state in the struggle against political violence
