Media and aesthetic boundaries in Twenty Years After (1964-1984)

This documentary performs an original combination of elements that were present in theater and film productions by the Students Union’s mobile cultural arm, the Culture Popular Center – CPC, and elements that would appear in director’s Eduardo Coutinho’s later work as a member of Globo Reporter (a r...

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Main Author: Esther Imperio Hamburger
Format: Article
Language:English
Published: Pontíficia Universidade Católica de São Paulo 2017-03-01
Series:Galáxia
Subjects:
Online Access:https://revistas.pucsp.br/galaxia/article/view/26905
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author Esther Imperio Hamburger
author_facet Esther Imperio Hamburger
author_sort Esther Imperio Hamburger
collection DOAJ
description This documentary performs an original combination of elements that were present in theater and film productions by the Students Union’s mobile cultural arm, the Culture Popular Center – CPC, and elements that would appear in director’s Eduardo Coutinho’s later work as a member of Globo Reporter (a rare in Brazil television incursion in documentary, that lasted roughly from 1973 to 1984). The film also brings elements of cinema vérité and direct cinema. To focus on the relations between these fragments shot in different moments in time, and in different places reveals potent intermedial relations, and helps to interpret the lm as an expression of the director’s critique of his own previous ways of lming. This paper traces connections between this re exive work, and his later experiments - a series of films that can be considered as parts of a conceptual investigation about lm as performance and interaction, and affect, in lieu of film as representation.
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spelling doaj.art-c461c3efcba347518f8368abbddf75012022-12-22T00:05:46ZengPontíficia Universidade Católica de São PauloGaláxia1519-311X1982-25532017-03-0103420714Media and aesthetic boundaries in Twenty Years After (1964-1984)Esther Imperio Hamburger0Universidade de São PauloThis documentary performs an original combination of elements that were present in theater and film productions by the Students Union’s mobile cultural arm, the Culture Popular Center – CPC, and elements that would appear in director’s Eduardo Coutinho’s later work as a member of Globo Reporter (a rare in Brazil television incursion in documentary, that lasted roughly from 1973 to 1984). The film also brings elements of cinema vérité and direct cinema. To focus on the relations between these fragments shot in different moments in time, and in different places reveals potent intermedial relations, and helps to interpret the lm as an expression of the director’s critique of his own previous ways of lming. This paper traces connections between this re exive work, and his later experiments - a series of films that can be considered as parts of a conceptual investigation about lm as performance and interaction, and affect, in lieu of film as representation.https://revistas.pucsp.br/galaxia/article/view/26905Documentário Arquivo Encenação
spellingShingle Esther Imperio Hamburger
Media and aesthetic boundaries in Twenty Years After (1964-1984)
Galáxia
Documentário Arquivo Encenação
title Media and aesthetic boundaries in Twenty Years After (1964-1984)
title_full Media and aesthetic boundaries in Twenty Years After (1964-1984)
title_fullStr Media and aesthetic boundaries in Twenty Years After (1964-1984)
title_full_unstemmed Media and aesthetic boundaries in Twenty Years After (1964-1984)
title_short Media and aesthetic boundaries in Twenty Years After (1964-1984)
title_sort media and aesthetic boundaries in twenty years after 1964 1984
topic Documentário Arquivo Encenação
url https://revistas.pucsp.br/galaxia/article/view/26905
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