OJS (Centro de Investigação em Artes e Comunicação)
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A paisagem que me representa: Rui Algarvio representando-se na obra
Full text linkThis reflection is based on the Artistic Residency entitled The landscape that represents me, within the scope of the international meeting Montanha Mágica/Arte e Paisagem. The challenge there was to explore the creative process to think and represent oneself through thinking and representation about the microlandscape of Jardim de Malufa in Covilhã. In this perspective, it was hoped that the interpretation of this Garden would result in the representation of oneself, the artist.The starting idea for this challenge was to interpret the identity of the garden’s place through the representation based on dialectics such as the following: imagination-perception; internal reality-external reality; memories-new knowledge. This approach envisaged an internal-external interrelationship through the dynamics of introspection/extrospection. In this sense, the relationship between the artist and the garden would involve a reflection based on his interior through the interpretation of the exteriority of the place, resorting to the expression of externalization of the whole phenomenon. This being based on the subjective-objective dialectic and symbiosis, resulted in representations of the artist’s identity – the human landscape – through the interpretation of the identity of the place/garden – the natural landscape.Rui Algarvio and myself participated with a creative project in this activity. In the case of the present theoretical reflection, this was based on our sharing of ideas during the visits to the artist’s studio and the gardens, in which I assumed the role of attentive listener to what Rui was reporting in relation to his creative process, what surprised him, what he found strange and what he admired.This reflection is based on the Artistic Residency entitled The landscape that represents me, within the scope of the international meeting Montanha Mágica/Arte e Paisagem. The challenge there was to explore the creative process to think and represent oneself through thinking and representation about the microlandscape of Jardim de Malufa in Covilhã. In this perspective, it was hoped that the interpretation of this Garden would result in the representation of oneself, the artist.The starting idea for this challenge was to interpret the identity of the garden’s place through the representation based on dialectics such as the following: imagination-perception; internal reality-external reality; memories-new knowledge. This approach envisaged an internal-external interrelationship through the dynamics of introspection/extrospection. In this sense, the relationship between the artist and the garden would involve a reflection based on his interior through the interpretation of the exteriority of the place, resorting to the expression of externalization of the whole phenomenon. This being based on the subjective-objective dialectic and symbiosis, resulted in representations of the artist’s identity – the human landscape – through the interpretation of the identity of the place/garden – the natural landscape.Rui Algarvio and myself participated with a creative project in this activity. In the case of the present theoretical reflection, this was based on our sharing of ideas during the visits to the artist’s studio and the gardens, in which I assumed the role of attentive listener to what Rui was reporting in relation to his creative process, what surprised him, what he found strange and what he admired.This reflection is based on the Artistic Residency entitled The landscape that represents me, within the scope of the international meeting Montanha Mágica/Arte e Paisagem. The challenge there was to explore the creative process to think and represent oneself through thinking and representation about the microlandscape of Jardim de Malufa in Covilhã. In this perspective, it was hoped that the interpretation of this Garden would result in the representation of oneself, the artist.The starting idea for this challenge was to interpret the identity of the garden’s place through the representation based on dialectics such as the following: imagination-perception; internal reality-external reality; memories-new knowledge. This approach envisaged an internal-external interrelationship through the dynamics of introspection/extrospection. In this sense, the relationship between the artist and the garden would involve a reflection based on his interior through the interpretation of the exteriority of the place, resorting to the expression of externalization of the whole phenomenon. This being based on the subjective-objective dialectic and symbiosis, resulted in representations of the artist’s identity – the human landscape – through the interpretation of the identity of the place/garden – the natural landscape.Rui Algarvio and myself participated with a creative project in this activity. In the case of the present theoretical reflection, this was based on our sharing of ideas during the visits to the artist’s studio and the gardens, in which I assumed the role of attentive listener to what Rui was reporting in relation to his creative process, what surprised him, what he found strange and what he admired.Esta reflexão baseia-se na Residência Artística designada A paisagem que me representa, no âmbito do encontro internacional Montanha Mágica/Arte e Paisagem. O desafio que se colocou foi o de explorar o processo criativo para pensar-se e representar-se através do pensamento e da micropaisagem do Jardim de Malufa em Covilhã. Nesta perspetiva, augurava-se que a interpretação desse Jardim resultasse na representação de si, artista. A ideia de partida, para este desafio, era a de interpretar a identidade do lugar do jardim através da representação baseada em dialéticas como as seguintes: imaginação-perceção; realidade interna-realidade externa; memórias-novos conhecimentos. Esta abordagem previa uma inter-relação interno-externo pela dinâmica de introspeção/extrospeção. Neste sentido, a relação entre o artista e o jardim passaria por uma reflexão baseada no seu interior através da interpretação da exterioridade do lugar, recorrendo à expressão de exteriorização de todo o fenómeno. Sendo que este, assente na dialética e simbiose subjetivo-objetivo, resultou em representações da identidade do artista – a paisagem humana – através da interpretação da identidade do lugar/jardim – a paisagem natural. Quem participou com um projeto criativo nesta atividade foi o artista Rui Algarvio e eu-próprio. No caso da presente reflexão teórica, esta teve como referência a nossa partilha de ideias nas visitas ao ateliê do artista e aos jardins, nas quais assumi o papel de ouvinte atento do que o Rui ia relatando relativamente ao seu processo criativo, ao que o surpreendia, ao que estranhava e ao que admirava
Two years after Sinógeno: An anthropophagic experience, from sacrilege to attraction in the city’s anniversary
Full text linkNeste trabalho, refletimos acerca das questões sobre tradição e modernidade nas percepções artísticas e culturais da tradição sineira na cidade de São João del-Rei no estado de Minas Gerais. Trazemos como material de análise o EP audiovisual Sinógeno. Ao ser difundida, a obra foi acompanhada de diversas polêmicas, entre os que endossaram sua contemporaneidade e os que a acusaram de sacrilégio. Dois anos após a publicação, houve diversos movimentos de resposta dos artistas, incorporando as críticas como objeto de discussão e marketing. O resultado se expressou no aniversário dos 309 anos da cidade, onde foi realizada uma performance ao vivo no centro, juntamente às procissões e badaladas comemorativas. De que modo uma obra que foi tão ostracizada por uma parcela da população conseguiu ser executada de forma sincrônica às comemorações tradicionais e ser tão bem recebida pelo público ao ponto de tocar junto aos sineiros e procissões? Aqui, pretendemos analisar estas e outras questões. Na introdução, apresentaremos um panorama das ruas sanjoanenses em dois momentos, no fim do ciclo do ouro, e no aniversário dos 309 anos; depois analisaremos a relação entre a produção audiovisual do Sinógeno e a tradição sineira, que atravessa a paisagem sonora e a experiência sanjoanense cotidiana. A seção conclusiva ressalta o caminho que o EP percorreu desde as críticas iniciais até a performance ao vivo, e propõe que a cultura dos sinos é reinventada e negociada pelas pessoas que a movimentam diariamente.
In this work, we reflect on the questions about tradition and modernity in the artistic and cultural perceptions of the bell tradition in the city of São João del-Rei in the state of Minas Gerais. We bring as analysis material the audiovisual EP Sinógeno. When it was disseminated, the work was accompanied by several controversies between those who endorsed its contemporaneity and those who accused it of sacrilege. Two years after publication, there were several response movements from artists, incorporating criticism as an object of discussion and marketing. The result is expressed in the city’s 309th anniversary, where a live performance was held in the center, along with processions and commemorative bells. How did a work that was so ostracized by a portion of the population manage to be performed in synchrony with traditional celebrations and be so well received by the public to the point of playing along with bell ringers and processions? Here, we intend to analyze these and other questions. in the introduction, we will present an overview of the streets of sanjoanenses in two moments, at the end of the gold cycle, and on the 309th anniversary; then we will analyze the relationship between the audiovisual production of Sinógeno and the bell tradition, which crosses the soundscape and the daily experience of sanjoanense. The concluding session underscores the path the EP has taken from initial reviews to live performance and proposes that bell culture is reinvented and negotiated by the people who move it daily.In this work, we reflect on the questions about tradition and modernity in the artistic and cultural perceptions of the bell tradition in the city of São João del-Rei in the state of Minas Gerais. We bring as analysis material the audiovisual EP Sinógeno. When it was disseminated, the work was accompanied by several controversies between those who endorsed its contemporaneity and those who accused it of sacrilege. Two years after publication, there were several response movements from artists, incorporating criticism as an object of discussion and marketing. The result is expressed in the city’s 309th anniversary, where a live performance was held in the center, along with processions and commemorative bells. How did a work that was so ostracized by a portion of the population manage to be performed in synchrony with traditional celebrations and be so well received by the public to the point of playing along with bell ringers and processions? Here, we intend to analyze these and other questions. in the introduction, we will present an overview of the streets of sanjoanenses in two moments, at the end of the gold cycle, and on the 309th anniversary; then we will analyze the relationship between the audiovisual production of Sinógeno and the bell tradition, which crosses the soundscape and the daily experience of sanjoanense. The concluding session underscores the path the EP has taken from initial reviews to live performance and proposes that bell culture is reinvented and negotiated by the people who move it daily.In this work, we reflect on the questions about tradition and modernity in the artistic and cultural perceptions of the bell tradition in the city of São João del-Rei in the state of Minas Gerais. We bring as analysis material the audiovisual EP Sinógeno. When it was disseminated, the work was accompanied by several controversies between those who endorsed its contemporaneity and those who accused it of sacrilege. Two years after publication, there were several response movements from artists, incorporating criticism as an object of discussion and marketing. The result is expressed in the city’s 309th anniversary, where a live performance was held in the center, along with processions and commemorative bells. How did a work that was so ostracized by a portion of the population manage to be performed in synchrony with traditional celebrations and be so well received by the public to the point of playing along with bell ringers and processions? Here, we intend to analyze these and other questions. in the introduction, we will present an overview of the streets of sanjoanenses in two moments, at the end of the gold cycle, and on the 309th anniversary; then we will analyze the relationship between the audiovisual production of Sinógeno and the bell tradition, which crosses the soundscape and the daily experience of sanjoanense. The concluding session underscores the path the EP has taken from initial reviews to live performance and proposes that bell culture is reinvented and negotiated by the people who move it daily
Digital Media Art: The Link between School and Active Citizenship
Full text linkEm pleno século XXI, a Média Arte Digital é parte constituinte da formação integral dos mais jovens. O acesso online, em equipamentos portáteis, facilita o acesso rápido, imediato e ao vivo, em qualquer espaço, formal ou informal, a diversos conteúdos. Nas escolas portuguesas os conteúdos inerentes à era digital são cenários de aprendizagem para os currículos onde os alunos desenvolvem competências digitais estimulantes da criatividade e da prática artística, capacitando-os para manusear e criar conhecimento através das ferramentas digitais. Atualmente, são definidos no Perfil dos Alunos à Saída da Escolaridade Obrigatória (PASEO) como valores a considerar para a Cidadania e a Participação, o saber tecnológico, a resolução de problemas, o pensamento crítico, a sensibilidade estética, de cerca de dez outras áreas de competências.Nas redes sociais os jovens comunicam e estabelecem conexões pessoais e sociais. Este consumo livre, fora das escolas, nem sempre está aliado a espaços físicos ou digitais de acesso à criação artística, individual ou coletiva, como estímulo para a arte e intervenção na prática ativa da cidadania. Serão os jovens meros seguidores da tecnologia num contexto informal? O presente artigo procura o foco da relação entre a Média Arte Digital e a Escola, na prática de uma cidadania ativa, e a sua ausência fora da escola.Os polos culturais das comunidades locais organizam-se geralmente em função de programas, festividades e interrupções letivas, nem sempre com continuidade temporal ou com metas socioeducativas. Na comunidade local a estrutura sociocultural e digital difere das competências fomentadas nas escolas. No âmbito das artes, a Média Arte Digital procura um espaço público para criação e partilha, um lugar de encontro estruturado e acessível aos mais jovens.Como estímulo da sensibilidade estética e artística dos jovens, os projetos nacionais dinamizados nas escolas portuguesas, Plano Nacional de Cinema (PNC), Plano Nacional das Artes (PNA), e outros, são a base onde a Média Arte Digital se desenvolve e habita na criatividade dos estudantes. A Média Arte Digital pode dar continuidade a estes projetos na sociedade, local e nacional, e permitir o acesso e a inclusão dos mais jovens numa Cidadania mais interventiva e criativa, estabelecendo uma relação entre a Escola e a Cidadania Ativa.In the 21st century, Digital Media Art is an integral part of the integral education of young people. Online access through portable equipment facilitates fast, immediate and live access, in any space, formal or informal, to various contents. In Portuguese schools, the contents inherent to the digital era are learning contexts for the curricula where students develop digital skills that stimulate creativity and artistic practice, enabling them to handle and create knowledge through digital tools. Currently, technological knowledge, problem-solving, critical thinking, aesthetic sensitivity and about 10 other skills areas are defined in the Profile of Students Leaving Required Education (PSLRE) as one of the values to be considered for Citizenship and Participation.On social networks, young people communicate and establish personal and social connections. However, this free consumption outside schools is not always allied to physical or digital spaces of access to artistic creation, individual or collective, as a stimulus for art and intervention in the active practice of citizenship. Are young people mere followers of technology in an informal context? This paper focuses on the relationship between Digital Media Art and School in the practice of active citizenship and its absence outside school.The cultural poles of local communities are generally organised according to programmes, festivities and school breaks, not always with temporal continuity or with socio-educational goals. Young people do not find in local society the sociocultural and digital structure fostered in schools that respond to their skills and objectives. In the arts field, Digital Media Art is looking for a public space for creation and sharing, a structured and accessible meeting place for young people.As a stimulus to the aesthetic and artistic sensibility of young people, the national projects that are being encouraged in Portuguese schools, the National Cinema Plan (NCP), the National Arts Plan (NAP), and others, are the basis on which Digital Media Art develops and inhabits the students´ creativity. Therefore, Digital Media Art can give continuity to these projects in society, locally and nationally, and allow access and inclusion of younger people in more interventive and creative citizenship, establishing the link between School and Active Citizenship.In the 21st century, Digital Media Art is an integral part of the integral education of young people. Online access through portable equipment facilitates fast, immediate and live access, in any space, formal or informal, to various contents. In Portuguese schools, the contents inherent to the digital era are learning contexts for the curricula where students develop digital skills that stimulate creativity and artistic practice, enabling them to handle and create knowledge through digital tools. Currently, technological knowledge, problem-solving, critical thinking, aesthetic sensitivity and about 10 other skills areas are defined in the Profile of Students Leaving Required Education (PSLRE) as one of the values to be considered for Citizenship and Participation.On social networks, young people communicate and establish personal and social connections. However, this free consumption outside schools is not always allied to physical or digital spaces of access to artistic creation, individual or collective, as a stimulus for art and intervention in the active practice of citizenship. Are young people mere followers of technology in an informal context? This paper focuses on the relationship between Digital Media Art and School in the practice of active citizenship and its absence outside school.The cultural poles of local communities are generally organised according to programmes, festivities and school breaks, not always with temporal continuity or with socio-educational goals. Young people do not find in local society the sociocultural and digital structure fostered in schools that respond to their skills and objectives. In the arts field, Digital Media Art is looking for a public space for creation and sharing, a structured and accessible meeting place for young people.As a stimulus to the aesthetic and artistic sensibility of young people, the national projects that are being encouraged in Portuguese schools, the National Cinema Plan (NCP), the National Arts Plan (NAP), and others, are the basis on which Digital Media Art develops and inhabits the students´ creativity. Therefore, Digital Media Art can give continuity to these projects in society, locally and nationally, and allow access and inclusion of younger people in more interventive and creative citizenship, establishing the link between School and Active Citizenship
Greta Garbo como forma fílmica: cinesias de uma atriz-autora no cinema hollywoodiano
Full text linkGreta Garbo, considered as the symbol of the star system until the end of the 1940s, played as a professional film actress in over 30 movies, from the pre-sound synchronic cinema to the post-sound synchronic cinema, an integral part of the complex Fordist-Taylorist Hollywood model. Nevertheless, the Garbo myth became an operating model for acting – a class of actors and actresses. Thus, through the methodology of bibliographic review, we seek to identify the the actorial operative kinesias that led her to consolidate herself in the cinematographic canon, in two instances: acting and extrafilmic. To this end, we articulate the notion of kinesias – anthropological movements that are not always ascendant in liminal environments – to actor studies, especially to Patrick McGilligan’s theory of the actor-auteur. Through a critical analysis of bibliographic review, we found that Greta Garbo amalgamated all the notorious and current acting precepts in their temporary context (fascination, dramatic action, photogenic, movie diva, rosticity, embody film and embodiment in acting, verisimilitude, star system through the bias of the persona mister), becoming an actress-author: dictating the forms of films and interfering in the direction of Hollywood power. The industry bounced back, and Garbo never won an Oscar in her acting career.Greta Garbo, considered as the symbol of the star system until the end of the 1940s, played as a professional film actress in over 30 movies, from the pre-sound synchronic cinema to the post-sound synchronic cinema, an integral part of the complex Fordist-Taylorist Hollywood model. Nevertheless, the Garbo myth became an operating model for acting – a class of actors and actresses. Thus, through the methodology of bibliographic review, we seek to identify the the actorial operative kinesias that led her to consolidate herself in the cinematographic canon, in two instances: acting and extrafilmic. To this end, we articulate the notion of kinesias – anthropological movements that are not always ascendant in liminal environments – to actor studies, especially to Patrick McGilligan’s theory of the actor-auteur. Through a critical analysis of bibliographic review, we found that Greta Garbo amalgamated all the notorious and current acting precepts in their temporary context (fascination, dramatic action, photogenic, movie diva, rosticity, embody film and embodiment in acting, verisimilitude, star system through the bias of the persona mister), becoming an actress-author: dictating the forms of films and interfering in the direction of Hollywood power. The industry bounced back, and Garbo never won an Oscar in her acting career.Greta Garbo, considered as the symbol of the star system until the end of the 1940s, played as a professional film actress in over 30 movies, from the pre-sound synchronic cinema to the post-sound synchronic cinema, an integral part of the complex Fordist-Taylorist Hollywood model. Nevertheless, the Garbo myth became an operating model for acting – a class of actors and actresses. Thus, through the methodology of bibliographic review, we seek to identify the the actorial operative kinesias that led her to consolidate herself in the cinematographic canon, in two instances: acting and extrafilmic. To this end, we articulate the notion of kinesias – anthropological movements that are not always ascendant in liminal environments – to actor studies, especially to Patrick McGilligan’s theory of the actor-auteur. Through a critical analysis of bibliographic review, we found that Greta Garbo amalgamated all the notorious and current acting precepts in their temporary context (fascination, dramatic action, photogenic, movie diva, rosticity, embody film and embodiment in acting, verisimilitude, star system through the bias of the persona mister), becoming an actress-author: dictating the forms of films and interfering in the direction of Hollywood power. The industry bounced back, and Garbo never won an Oscar in her acting career.Greta Garbo, considerada como símbolo do sistema de estrelas até o final da década de 1940, atuou como atriz profissional em mais de 30 filmes, desde o cinema pré-sonoro até o cinema pós-sonoro, sendo parte integrante do complexo modelo hollywoodiano Fordista-Taylorista. No entanto, o mito de Garbo se tornou um modelo operacional para atuação entre a atorialidade – a classe de atores e atrizes. Assim, por meio da metodologia de revisão bibliográfica, buscamos identificar as cinesias operacionais da atuação que a levaram a se consolidar no cânone cinematográfico, em duas instâncias: a atuação em si e o contexto extracinematográfico. Para isso, articulamos a noção de cinesias –movimentos antropológicos que nem sempre são ascendentes em ambientes liminares – aos estudos de atores, especialmente à teoria de ator-autor de Patrick McGilligan. Por meio de uma análise crítica da revisão bibliográfica, descobrimos que Greta Garbo amalgamou todos os preceitos atuação em seu contexto temporário (fascinação, ação dramática, fotogenia, diva do cinema, rosticidade, encarnação do filme e incorporação na atuação, verossimilhança, star system por meio do viés da persona misteriosa), tornando-se uma atriz-autora: ditando as formas dos filmes e interferindo na direção do poder em Hollywood. A indústria revidou, e Garbo nunca ganhou um Oscar em sua carreira de atriz
Tourism and Modernity in 19th century Portugal: Ramalho Ortigão’s national waterscapes travel books
Full text linkAmong his travel writing works, the Nineteenth Century Portuguese writer Ramalho Ortigão was dedicated to the knowledge of his national territory. He published Banhos de caldas e águas minerais (Thermal baths and mineral waters) and As praias de Portugal (Portugal beaches), two books that remarked on the qualities of Portugal as a privileged waterscape country with a great potential for the development of tourism. As an heir of literary Romanticism but also as a positivist, the author created a very particular discourse within those books: tensions between nationalism or cosmopolitanism, artistic and scientific aims, and even literary or pragmatic discourse reside in both texts. Explaining such tensions brought about philosophical concepts to the scene: the German philosopher Peter Sloterdijk used the term Verwöhnung (pampering) to describe new social needs oriented to relief and comfort, like the idea of vacation. In Ramalho’s time, Portuguese waterscapes began to satisfy those needs, and a type of national proto-Tourism took shape. Besides, pampering was not only related to relief but also to health. Medical sciences contributed to a social transformation and recreational places became a necessity rather than a luxury. Massive and rapid transportation, mostly trains, supplied citizens with quick and safe access to beaches and thermal waters. The methodology consists in discussing Ramalho’s observations about his travels across the waterscapes of Portugal considering Sloterdijk’s ideas on pampering in Modernity, some of which can be applied to the Portuguese reality of the nineteenth century. By reading Ramalho’s Banhos de caldas e águas minerais and As praias de Portugal under the philosophical framework of Peter Sloterdijk, it is possible to understand the deep entailment between the development of tourism as a response to modern life needs and the transformations of the literary discourse, that gained levity and gradually prioritized informative function instead of the aesthetic one
“A strange dream upon the water”: Venice as inspiration for writers and reader-tourists
Full text linkWater is an ambivalent topic to talk about, being a source of life and death, a symbol of reflection and transcendence. When one thinks of water, one is often reminded of Venice. Venice cannot be imagined without its waterways, which have gained it the name of “the floating city.” The unique character of this city shaped by water has turned it into a source of inspiration for numerous writers who have made Venice a setting in their works, contributing to the city becoming a popular destination for reader-tourists. Through a combination of close reading and secondary sources, this paper looks at the symbol of water as appearing in selected fiction related to Venice. It also tries to tackle how such literary representations have shaped the perceptions and the imagination of readers to the point of turning them into tourists going in search of their own experience of the floating city. The theoretical framework of this paper draws on Bachelard’s concept of water, Foucault’s concept of heterotopia and the reader-response theory
An extended synthesis for about thirty years in Ceará state, or Chronicle about the Brazilian artist Edicleison de Freitas who received Young Researchers Award at the World Cultural Council 2022
Full text linkAo final de novembro de 2022, na Universidade de Coimbra, a instituição “World Cultural Council” realizou sua 37a. Cerimônia de Premiação, onde compareceram dois nomes celebrados na esfera da criação artística: na categoria principal (Prêmio Mundial de Artes Leonardo da Vinci), a arquiteta americana J. Meejin Yoon (1972-); na categoria de jovens líderes investigadores, o ator brasileiro Edicleison de Freitas Cardoso (1992-), único artista experimental/artista visual e Doutorando de Arte Contemporânea (Colégio das Artes da Universidade de Coimbra), ao lado de doze outros contemplados, em variadas áreas diferentes. Trata o presente documento de resgatar aspectos da carreira profissional e criativa do Sr. Freitas Cardoso, de modo a oferecer inteligibilidade para o contexto da sua atual premiação internacional.At the end of November 2022, at the University of Coimbra, the ‘World Cultural Council’ held its 37th. Award Ceremony, attended by two celebrated names in the field of creative arts: in the main category (Leonardo da Vinci World Arts Prize), the American architect J. Meejin Yoon (1972-); in the category of young research leaders, the Brazilian actor Edicleison de Freitas Cardoso (1992-), the only experimental artist/visual artist and PhD candidate in Contemporary Art (College of Arts, University of Coimbra), alongside twelve other recipients, in various different areas. This document seeks to introduce aspects of the professional and creative career of Mr. Freitas Cardoso, in order to provide intelligibility for the context of his current international award.At the end of November 2022, at the University of Coimbra, the ‘World Cultural Council’ held its 37th. Award Ceremony, attended by two celebrated names in the field of creative arts: in the main category (Leonardo da Vinci World Arts Prize), the American architect J. Meejin Yoon (1972-); in the category of young research leaders, the Brazilian actor Edicleison de Freitas Cardoso (1992-), the only experimental artist/visual artist and PhD candidate in Contemporary Art (College of Arts, University of Coimbra), alongside twelve other recipients, in various different areas. This document seeks to introduce aspects of the professional and creative career of Mr. Freitas Cardoso, in order to provide intelligibility for the context of his current international award.At the end of November 2022, at the University of Coimbra, the ‘World Cultural Council’ held its 37th. Award Ceremony, attended by two celebrated names in the field of creative arts: in the main category (Leonardo da Vinci World Arts Prize), the American architect J. Meejin Yoon (1972-); in the category of young research leaders, the Brazilian actor Edicleison de Freitas Cardoso (1992-), the only experimental artist/visual artist and PhD candidate in Contemporary Art (College of Arts, University of Coimbra), alongside twelve other recipients, in various different areas. This document seeks to introduce aspects of the professional and creative career of Mr. Freitas Cardoso, in order to provide intelligibility for the context of his current international award
Recensão crítica de Bär, G. 2022. Grosses Kino. O Cinema Mudo Alemão em Portugal. Universidade Católica Portuguesa, 264 pp.
Full text linkGrosses Kino. O Cinema Mudo Alemão em Portugal addresses the Portuguese reception to German-speaking silent films through the use of various sources of the time, such as exhibition records in our country, film magazines of that time and catalogs and programs of later thematic cycles.Grosses Kino. O Cinema Mudo Alemão em Portugal addresses the Portuguese reception to German-speaking silent films through the use of various sources of the time, such as exhibition records in our country, film magazines of that time and catalogs and programs of later thematic cycles.Grosses Kino. O Cinema Mudo Alemão em Portugal addresses the Portuguese reception to German-speaking silent films through the use of various sources of the time, such as exhibition records in our country, film magazines of that time and catalogs and programs of later thematic cycles.Grosses Kino. O Cinema Mudo Alemão em Portugal aborda a receção portuguesa ao cinema mudo de expresão alemã através do recurso a várias fontes da época, como os rgistos de exibição no nosso país, a revistas de cinema da época e catálogos e programas de ciclos temáticos mais tardios
O Noé de John Huston e a representação do patriarca no século XX
Full text linkThis article examines the cinematic representations of the patriarch Noah, the ark, and the animals throughout the 20th century. Through narrative and cultural history, it presents the importance of the Flood myth in contemporary societies, particularly the role that the Noahic story plays in disputes between fundamentalists and progressives. Additionally, it explores the cinema’s appropriations of this story from the 1900s to the 1930s, culminating in the production of the film “The Bible” (Huston, 1966).Within the context of this specific film, the objective is to analyze the Flood sequence, particularly in two aspects: the representation of the vessel and the animals. Connections are established between these scenes and previous cinematic and artistic references while examining how editing and the soundtrack incorporated these references into the film. We conclude that the final result displayed on the screen has become a true visual paradigm of the 20th century and the history of Noah’s Ark.This article examines the cinematic representations of the patriarch Noah, the ark, and the animals throughout the 20th century. Through narrative and cultural history, it presents the importance of the Flood myth in contemporary societies, particularly the role that the Noahic story plays in disputes between fundamentalists and progressives. Additionally, it explores the cinema’s appropriations of this story from the 1900s to the 1930s, culminating in the production of the film “The Bible” (Huston, 1966).Within the context of this specific film, the objective is to analyze the Flood sequence, particularly in two aspects: the representation of the vessel and the animals. Connections are established between these scenes and previous cinematic and artistic references while examining how editing and the soundtrack incorporated these references into the film. We conclude that the final result displayed on the screen has become a true visual paradigm of the 20th century and the history of Noah’s Ark.This article examines the cinematic representations of the patriarch Noah, the ark, and the animals throughout the 20th century. Through narrative and cultural history, it presents the importance of the Flood myth in contemporary societies, particularly the role that the Noahic story plays in disputes between fundamentalists and progressives. Additionally, it explores the cinema’s appropriations of this story from the 1900s to the 1930s, culminating in the production of the film “The Bible” (Huston, 1966).Within the context of this specific film, the objective is to analyze the Flood sequence, particularly in two aspects: the representation of the vessel and the animals. Connections are established between these scenes and previous cinematic and artistic references while examining how editing and the soundtrack incorporated these references into the film. We conclude that the final result displayed on the screen has become a true visual paradigm of the 20th century and the history of Noah’s Ark.This text analyzes the filmic representations of biblical patriarch Noah, the ark and the animals, throughout the 20th Century. It shows the importance that the myth of the Flood has in contemporary societies, progressively more religious, and discusses the role that Noaic history plays in the disputes between fundamentalists and progressives groups. It presents the oldest examples of this history narrated by cinema between the decades of 1900-1930, understanding how that period’s movies incorporated elements of the plastic arts. It recounts how the movie The Bible: In the Beginning... was produced, how it belonged to an era of grandiose epics that was already in its last days. Within the scope of this specific film, the Flood sequence is focused on, particularly two of its aspects: the boat and the animals. It shows the enormous financial and labor investiments made to build arks never seen in the cinema. It tells the importance of animals for this film specifically, the huge investment made in faunal diversity, a production’s hallmark. It analyzes how the soundtrack and editing worked together to achieve a boarding like never before – and which, we say, will never happen again, given the current filming conditions. Finally, it presents a list of films cited throughout the text, with production references.Este artigo analisa as representações fílmicas do patriarca Noé, da arca e dos animais, ao longo do século XX. Através da história narrativa e cultural, apresenta-se a importância do mito do Dilúvio nas sociedades contemporâneas, especialmente o papel que a história noaica desempenha nas disputas entre fundamentalistas e progressistas. Examina-se, também, as apropriações dessa história pelo cinema entre as décadas de 1900 e 1930, culminando na produção do filme A Bíblia (Huston, 1966).No âmbito desse filme específico, objetiva-se analisar a sequência do Dilúvio, em especial em dois aspectos: a representação da embarcação e dos animais, estabelecendo as relações entre essas passagens e as referências cinematográficas e artísticas pretéritas ao mesmo tempo que se analisa como a edição e a trilha sonora incorporaram essas referências ao filme. Concluímos que o resultado final exposto em tela se estabeleceu como um verdadeiro paradigma imagético do século XX e da história da arca de Noé
1898-1919: the early years of the Cinema in the leeward Algarve
Full text linkNeste artigo contribuímos para um melhor conhecimento sobre a exibição e receção do cinema na sub-região do sotavento algarvio, inventariando os diferentes espaços de exibição que, entre 1898 e 1919, surgiram nas localidades de Faro, Olhão, Tavira, Loulé, São Brás de Alportel e Vila Real de Santo António, assim como os filmes que aí foram exibidos, e a sua receção pelo publico e a imprensa algarvia.No Algarve, o salão High-Life, da empresa Neves & Pascaud, e a empresa Alves França desempenharam um papel fundamental na afirmação do cinema enquanto espetáculo e forma de lazer. Entre 1910 e 1917, surgiram novas salas, preparadas para acolher as sessões de animatógrafo, mas, tal como no resto do país, não se verificou uma substituição cronologicamente delimitada dos salões itinerantes por salas fixas, verificando-se, sim, uma coexistência que se manteve por vários anos.Durante a primeira década do século XX, o cinema francês ocupou uma posição hegemónica nas salas do sotavento algarvio, graças à capacidade de produção e distribuição das produtoras Pathé Frères e Gaumont, merecendo rasgados elogios da imprensa local. Durante a década de 1910, a produção italiana e norte-americana, conquistou um espaço importante, registando enorme popularidade junto do grande público, graças a filmes como Maciste (Borgnetto, Denizot, 1915), e novas vedetas como Eddie Polo. Durante estes anos, verificamos que as principais salas de Faro, Olhão e Tavira se integram no circuito de exibição lisboeta, graças aos contratos assinados com os principais exibidores e distribuidores nacionais.In this article we contribute to a better knowledge about the exhibition and reception of cinema in the sub-region of the leeward Algarve, inventorying the different exhibition spaces that, between 1898 and 1919, appeared in the localities of Faro, Olhão, Tavira, Loulé, São Brás de Alportel and Vila Real de Santo António, as well as the films that were exhibited there, and its reception by the public and the Algarve press.In the Algarve, the High-Life salon, of the company Neves & Pascaud, and the company Alves França played a fundamental role in the affirmation of cinema as a spectacle and form of leisure. Between 1910 and 1917, new rooms appeared, prepared to host the animatograph sessions, but, as in the rest of the country, there was no chronologically delimited replacement of the itinerant halls by fixed rooms, but a coexistence that continued for several years.During the first decade of the twentieth century, French cinema occupied a hegemonic position in the halls of the leeward Algarve, thanks to the production and distribution capacity of the production companies Pathé Frères and Gaumont, deserving rave reviews from the local press. During the 1910s, Italian and American production gained an important space, registering enormous popularity with the general public, thanks to films such as Maciste (Borgnetto, Denizot, 1915), and new stars such as Eddie Polo. During these years, we have verified that the main halls of Faro, Olhão and Tavira are integrated in the exhibition circuit of Lisbon, thanks to the contracts signed with the main national exhibitors/distributors.In this article we contribute to a better knowledge about the exhibition and reception of cinema in the sub-region of the leeward Algarve, inventorying the different exhibition spaces that, between 1898 and 1919, appeared in the localities of Faro, Olhão, Tavira, Loulé, São Brás de Alportel and Vila Real de Santo António, as well as the films that were exhibited there, and its reception by the public and the Algarve press.In the Algarve, the High-Life salon, of the company Neves & Pascaud, and the company Alves França played a fundamental role in the affirmation of cinema as a spectacle and form of leisure. Between 1910 and 1917, new rooms appeared, prepared to host the animatograph sessions, but, as in the rest of the country, there was no chronologically delimited replacement of the itinerant halls by fixed rooms, but a coexistence that continued for several years.During the first decade of the twentieth century, French cinema occupied a hegemonic position in the halls of the leeward Algarve, thanks to the production and distribution capacity of the production companies Pathé Frères and Gaumont, deserving rave reviews from the local press. During the 1910s, Italian and American production gained an important space, registering enormous popularity with the general public, thanks to films such as Maciste (Borgnetto, Denizot, 1915), and new stars such as Eddie Polo. During these years, we have verified that the main halls of Faro, Olhão and Tavira are integrated in the exhibition circuit of Lisbon, thanks to the contracts signed with the main national exhibitors/distributors.In this article we contribute to a better knowledge about the exhibition and reception of cinema in the sub-region of the leeward Algarve, inventorying the different exhibition spaces that, between 1898 and 1919, appeared in the localities of Faro, Olhão, Tavira, Loulé, São Brás de Alportel and Vila Real de Santo António, as well as the films that were exhibited there, and its reception by the public and the Algarve press.In the Algarve, the High-Life salon, of the company Neves & Pascaud, and the company Alves França played a fundamental role in the affirmation of cinema as a spectacle and form of leisure. Between 1910 and 1917, new rooms appeared, prepared to host the animatograph sessions, but, as in the rest of the country, there was no chronologically delimited replacement of the itinerant halls by fixed rooms, but a coexistence that continued for several years.During the first decade of the twentieth century, French cinema occupied a hegemonic position in the halls of the leeward Algarve, thanks to the production and distribution capacity of the production companies Pathé Frères and Gaumont, deserving rave reviews from the local press. During the 1910s, Italian and American production gained an important space, registering enormous popularity with the general public, thanks to films such as Maciste (Borgnetto, Denizot, 1915), and new stars such as Eddie Polo. During these years, we have verified that the main halls of Faro, Olhão and Tavira are integrated in the exhibition circuit of Lisbon, thanks to the contracts signed with the main national exhibitors/distributors