Este artigo discute o filme Breve miragem de sol (Rocha, 2019) dentro do emergente campo teórico dos ‘estudos da noite’ (Kyba et al 2020), campo transdiciplinar voltado para aspectos da experiência ...humana muitas vezes negligenciados pela atenção preponderantemente dirigida à existência diurna. O ponto de partida é o conceito da noite como ‘fronteira’ (Melbin, 1978), que problematiza a comercialização e colonização do tempo-espaço da noite, e o conceito de espectralidade no contexto do cotidiano (Blanco & Peeren, 2010), para discutir a representação de Paulo (Fabrício Boliveira), taxista noturno que, enquanto a cidade ‘dorme’, nos desvenda o lado invisível da cidade 24-horas.
A road movie is a film genre in which the main characters leave home on a road trip, typically altering their perspective from their everyday lives. A road movie is technically defined as a movie ...that starts at geographic point A and travels through various pit-stops along the way before reaching geographic point B, the final destination. Road movies are noted for their vivid, dynamic and picturesque narration. Normally the protagonist or traveler is a male and the purpose of journey is self-discovery. Characters’ internal conflicts and transformations are highlighted. The characters in road movies often experience new realities on their trip and often explore the intensity of their alienation and solitude on a possibly long road trip to a remote destination. In road movies, the protagonist is usually considered as on the move. The present paper explores the theme of oppression, rebellion, escape, self-discovery and the metamorphosis of the protagonist as depicted in Frank Capra’s movie It Happened One Night and the Easy Rider by Dennis Hopper. The paper, on a further note, examines the emotional transformations of the protagonists as they sail through varied personal, emotional and social experiences on the way to their destinations. Montage sequences, travelling shots, aerial shots and diegetic music are some of the technical peculiarities employed in road movies. The road movie entered a political phase in the late 1960’s influenced by the low budget biker movies and Jack Kerouac’s novel On the Road. The narrative is somewhat picaresque in almost all road movies that sequentially present certain pertinent events that culminate in a good or bad ending.
Twin tales are short on survivors. On the one hand is the threat of implosion; on the other, outsiders can shatter the twin relationship. This fine line is walked by Quentin and Antoine, the ...protagonists of Pascal Alex Vincent’s Donne-moi la main (2008), who hitchhike from France to Spain to attend their mother’s funeral. Vincent’s film is both a twin tale and a road movie. In this mix, there is the potential for generic conflict since, in contrast to the claustrophobia of the twin relationship, the road movie emphasises a mobility which is emancipatory. Drawing on the work of Juliana de Nooy and on theory relating to the road movie, this article examines how Vincent’s film juggles the restrictions of the twin tale with the freedom of the road. In doing so, it questions the extent to which the road movie might offer liberation from hegemonic masculinity for its protagonists.
The present discussion is motivated by a broad sympathy for the educational commitments that run through René Arcilla's Wim Wenders's Road Movie Philosophy (2020). His framing of these commitments is ...imaginative, as is the invitation to Wenders’ films that the book provides. It is, however, with attention to the figures of the frame and the line that I call into question some aspects of the account, especially regarding its conceptions of time and narrative, and of the relation of the photographic still to the moving image. While appreciative of Arcilla's faith in education and of the importance of film in this, I endeavour to show that a liberal education can be more broadly and more practically conceived than Arcilla is ready to suggest. I try to show how this might be done.
The road movie Archer, Neil
2016., 20160112, 2016, 2016-01-12, Letnik:
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eBook
Though often seen as one of America's native cinematic genres, the road movie has lent itself to diverse international contexts and inspired a host of filmmakers. As analyzed in this study, from its ...most familiar origins in Hollywood the road movie has become a global film practice, whether as a vehicle for exploring the relationship between various national contexts and American cinema, as a means of narrating different national and continental histories, or as a form of individual filmmaking expression. Beginning with key films from Depression-era Hollywood and the New Hollywood of the late 1960s and then considering its wider effect on world cinemas, this volume maps the development and adaptability of an enduring genre, studying iconic films along the way.
El presente texto realiza un análisis de la estructura narrativa, y de la estética y contenido de la obra cinematográfica de Fernando Arrabal Iré como un caballo loco (1973). Más allá de su ...reconocida trayectoria como dramaturgo, esta obra singular construye de forma profunda y estructurada una narración compleja, llena de referentes biográficos, literarios y mediáticos, más allá de la simple apariencia de caos, confusión y absurdo. La intertextualidad de su estructura narrativa obliga a realizar un análisis cualitativo e interdisciplinar, para llegar a los aspectos más escondidos e insospechados de la película, donde nada es casual. Entre las principales aportaciones se encuentran la dualidad narrativa y estructural que la conecta tanto con Esquilo como con las películas de viaje y carretera.
Sol Alegria (Tavinho Teixeira, 2018) and Las hijas del fuego (Albertina Carri, 2018) are two recent films from Brazil and Argentina that allow us to rethink the intersections between the poetics of ...contemporary Latin American cinema and the historical present. Starting from an affective approach, beyond the category of representation, this article proposes to concentrate on the materiality of films to observe their estrangement strategies on space and bodies. By moving away from the credible representation of the territory, these films enable something else: a reflection of the sensible where space is performed and modulated to enable alternative accesses to the world of the present.
Sol Alegria (Tavinho Teixeira, 2018) e Las hijas del fuego (Albertina Carri, 2018) são dois filmes recentes do Brasil e da Argentina que nos permitem repensar as interseções entre a poética do cinema latino-americano contemporâneo e o presente histórico. Partindo de uma abordagem afetiva, para além da categoria da representação, este texto se propõe a concentrar-se na materialidade dos filmes para observar suas operações de estranhamento no espaço e nos corpos. Afastando-se da representação credível do território, estes filmes possibilitam outra coisa: uma reflexão do sensível onde o espaço é performado e modulado para possibilitar acessos alternativos ao mundo do presente.
Sol Alegria (Tavinho Teixeira, 2018) y Las hijas del fuego (Albertina Carri, 2018) son dos películas recientes de Brasil y Argentina que permiten repensar las intersecciones entre las poéticas del cine latinoamericano contemporáneo y el presente histórico. Partiendo de un enfoque afectivo, más allá de la categoría de representación, este texto propone concentrarse en la materialidad de las películas para observar sus operaciones de extrañamiento sobre el espacio y los cuerpos. Al alejarse de la representación verosímil del territorio, los films habilitan algo más: una reflexión de lo sensible donde el espacio se performa y se modula para habilitar accesos alternativos al mundo del presente.
In the Israeli collective memory, the Yom Kippur’s battles in the Golan Heights have become synonymous with a long lasting national scar that fails to disappear. Interestingly, until the release of ...Yaron Zilberman’s recent television series Valley of Tears (She’at Ne’Ila, 2020), this war, which was traditionally associated with the pictured northern landscape, had appeared in few documentaries, but was almost absent from Israeli feature films. This article analyzes one of the very few attempts to deal with this memory, Ari Folman’s feature film Made in Israel (2001). Using a science fiction narrative structure, Folman adopts historian Anita Shapira’s contention about the link between this war and the Holocaust, because both confronted the Jewish people with its fear of extermination. His narrative invites the viewer to participate imaginatively in a road movie set against the snow-covered landscapes of the Golan Heights, where a number of hitmen attempt to catch the last surviving Nazi and bring him to trial in Jerusalem. Interestingly, what begins as a Zionist mission in the hegemonic spaces of the State of Israel gradually transforms into various European landscapes as the snow piles up and the Nazi feels increasingly at home.
Han Han has attracted a significant amount of popular and scholarly attention since he rose to fame in 1999. While the majority of commentators have concentrated on his ambiguous position as ...rebel-meets-entrepreneur, this article considers the way in which masculinity is performed and constructed in the Han Han phenomenon. It discusses Han Han’s commercial appearances before turning to his debut film The Continent (2014). The article points to the recurring figure of the adventurous mobile man, demonstrating that this celebration of masculinity on the move is the result of global cultural influences, local traditions of manhood, and new market forces. Founded as it is on a conservative understanding of gender and mobility, Han Han’s performance and construction of masculinity cuts into his reputation as a “deviant genius,” demonstrating further ways in which his cultural rebellion is limited. In particular, this article highlights the ways in which his masculinity is constructed at the expense of women and non-hegemonic men.
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