scholarly journals Ascensão, vertigem e queda: correspondências entre Limite e Mundéu

2021 ◽  
Vol 48 (56) ◽  
pp. 225-247
Author(s):  
Bárbara Bergamaschi Novaes
Keyword(s):  
Mario De Andrade ◽  
Sergei Eisenstein ◽  
Mise En Scene

Neste artigo traçamos as correspondências “plástico-verbais” entre as escritas poética e cinematográfica de Mário Peixoto (1908-1992), buscando pontos de contato entre essas duas linguagens. Através de um cotejamento entre a decupagem de três cenas do filme Limite e da escansão do poema “A grande curva”, publicado no livro Mundéu, acreditamos ser possível vislumbrar como a poesia e a mise-en-scène de Mário Peixoto obedecem a uma mesma lógica formal de construção. Para tal utilizamos estudos de Mário de Andrade, Paulo Henriques Britto, Flora Süssekind e alguns conceitos operativos da teoria da montagem de Sergei Eisenstein. Em uma via de mão dupla, demonstramos como Peixoto absorveu os debates de seu tempo, transfigurou sua poesia em cinema e, inversamente, como o cinema “enformou” seus poemas. A proposta é pensar a obra de Peixoto para além da teoria estritamente cinematográfica, nos centrando no profícuo intercâmbio entre o cinema, a teoria literária e os estudos da poesia.

Three Sequences

Sergio Leone ◽  
2020 ◽  
pp. 101-120
Author(s):  
Christian Uva
Keyword(s):  
Film Theory ◽  
The Political ◽  
Sergei Eisenstein ◽  
Political Perspective ◽  
Mise En Scene ◽  
Visual Construction ◽  
Unique Style

This chapter focuses on Leone’s aesthetic and cinematic language. In order to highlight the continuity and evolution of the director’s eye, it deconstructs and analyzes three famous sequences from The Good, the Bad and the Ugly (1966), Duck, You Sucker! (1971), and Once Upon a Time in America (1984). The analysis of composition, mise-en-scène, and cinematography unveils the political and ethical symbolism of Leone’s cinema. It also references film theory (Sergei Eisenstein, among others) and critical contributions on Leone’s works tracing out the visual construction of his political perspective, and demonstrating the continuity and evolution of his unique style.

scholarly journals ESTETIKA FORMALIS FILM POHON PENGHUJAN SUTRADARA ANDRA FEMBRIARTO

2017 ◽  
Vol 13 (1) ◽  
pp. 41
Author(s):  
Naafi Nur Rohma
Keyword(s):  
Qualitative Research ◽  
Sergei Eisenstein ◽  
Mise En Scene

Penelitian berjudul Estetika Formalis Film Pohon Penghujan Sutradara Andra Fembriarto menggunakan metode penelitian kualitatif, pendekatan estetika formalis Sergei Eisenstein dan teori estetika formalis Sergei Eisenstein. Adapun tujuan dari penelitian adalah untuk mengetahui estetika formalis dari film Pohon Penghujan sehingga dapat diketahui makna dibalik film Pohon Penghujan. Permasalahan yang muncul dalam penelitian adalah estetika formalis dalam film Pohon Penghujan Sutradara Andra Fembriarto. Analisis yang dilakukan adalah analisis interpretasi pendekatan estetika formalis Sergei Eisenstein, yaitu mise-en-scene, sinematografi, montase dan suara. Hasil yang didapatkan dalam penelitian adalah terpilihnya empat adegan berdasarkan tingkat dramatik film dan makna dibalik keempat adegan tersebut.The research of Formalist Aesthetics of Rainy Tree Film directed by Andra Fembriarto uses method of qualitative research, formalist aesthetics approach and Sergei Eisenstein formalist aesthetics theory. The aim of this research is the truth of formalist aesthetics Pohon Penghujan film so that it can be seen artistic message of Pohon Penghujan film. The main problems that arise in this research is formalist aesthetics of Rainy Tree Film directed by Andra Fembriarto. Analysis for this research is Sergei Eisenstein formalist aesthetics approach: mise-en-scene, cinematography, montage dan sound. The results of this research is artistic message of Pohon Penghujan film as formalist aesthetics.

Democratizing Abolitionism: Anti-slavery Discourses and Sentiments in August von Kotzebue's Die Negersklaven (1796)

2020 ◽  
Vol 9 (1) ◽  
pp. 26-45
Author(s):  
Sarah J. Adams
Keyword(s):  
Eighteenth Century ◽  
Denis Diderot ◽  
Middle Classes ◽  
Late Eighteenth Century ◽  
German States ◽  
Political Sources ◽  
Mise En Scene ◽  
Peripheral Position ◽  
Histoire Des Deux Indes ◽  
Political Leverage

Despite their peripheral position in the Atlantic slave trade, authors of the late eighteenth-century German states composed a number of dramas that addressed imperialism and slavery. As Sigrid G. Köhler has argued (2018), these authors aimed to exert political leverage by grounding their plays in the international abolitionist debate. This article explores how a body of intellectual texts resonated in August von Kotzebue's bourgeois melodrama Die Negersklaven (1796). In a sentimental preface, he mentions diverse philosophical, historical and political sources that contributed to the dramatic plot and guaranteed his veracity. Looking specifically at the famous Histoire des deux Indes (1770) by Denis Diderot and Guillaume-Thomas F. Raynal, I will examine the ways in which Kotzebue adapted highbrow abolitionist discourses to the stage in order to convery an anti-slavery ideology to the white European middle classes. Kotzebue seems to ground abolitionism in the bourgeois realm by moulding political texts into specific generic templates such as an elaborate mise-en-scène, the separation and reunion of lost lovers, a fraternal conflict, and the representation of suffering victims and a compassionate white hero.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film

2012 ◽  
Vol 21 (2) ◽  
pp. 181-192 ◽  
Author(s):  
Katherine Weiss
Keyword(s):  
James Joyce ◽  
Silent Film ◽  
Biographical Data ◽  
Sergei Eisenstein ◽  
The Past

Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.

Becoming Present, Becoming Absent: Movement and Visual Form in the Film Adaptation of Comédie

2012 ◽  
Vol 21 (2) ◽  
pp. 157-180
Author(s):  
David Foster
Keyword(s):  
The Other ◽  
Film Adaptation ◽  
Visual Form ◽  
Sergei Eisenstein ◽  
Basic Framework ◽  
Global Movement ◽  
Local Movement

This article examines the use of movement and visual form in the film adaptation of Samuel Beckett's Comédie (Marin Karmitz, 1966). The article broaches the kinetic elements of the work through addressing the manner in which the diegetic motion of the film can be seen to reflect extra-diegetic cinematic processes. The sense of movement that is created through Comédie's montage is then considered at length, making use of work on this theme by two quite different (though tangentially related) theorists: Sergei Eisenstein and Jean-François Lyotard. The article then charts the film's different manifestations of formal movement, and a basic framework is proposed to explain the manner in which the film creates moments of intensity, through what is termed the ‘local movement’ of the montage, and the manner in which the film manifests an overall curve of intensity, through what is termed the montage's ‘global movement’. It is argued that each form of montagic motion is reflected in the other, and that ultimately these movements might be seen to dramatise a human drive towards, and a concomitant flight from, an impossible state of ontological totality.

Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

2019 ◽  
Vol 58 (2) ◽  
pp. 170-182
Author(s):  
Karen F. Quandt
Keyword(s):  
Urban Landscape ◽  
Second Empire ◽  
Theophile Gautier ◽  
Avant Garde ◽  
Meeting Point ◽  
Mise En Scene ◽  
Bleed Through ◽  
Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

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