Naiá e a Lua (2010): lendas indígenas sob os holofotes da narrativa

2021 ◽  
Author(s):  
Pollyanna Rosa Ribeiro ◽  
Keyla Andrea Santiago Oliveira
Keyword(s):  
Short Film ◽  
The Moon ◽  
It Projects ◽  
Award Winning ◽  
The Spectator ◽  
The Aesthetic ◽  
Live Action ◽  
The Voice ◽  
Aesthetic Procedures

This article aims to discuss the composition of narratology in the award-winning Brazilian short film (12 minutes and 45 secunds) Naiá and the Moon (2010) under the direction of Leandro Tadashi. This work is linked to interinstitutional research Art, psychoanalysis and education: aesthetic procedures in cinema and the changes of childhood CEPAE / UFG / PUCGO / UEG / UAB-UNB / UEMS, which seeks to highlight the potentialities of the relations between cinema and education. The proposed film analysis will reveal the narrative functioning of the intersection of two indigenous legends that the short film contains, since it projects for the viewer a story within the story, the passionate narration of the legend of the appearance of the stars (relationship between Jaci and the Indians of tribe) with the ultimate construction of the legend of Vitória-Régia and its origin. Still, the place of childhood, the dreamlike quality of the narrative and the components of the diegetic world will be treated: characters - in this case, the central narrator and the protagonist child, Naiá, gain centrality; the spaces; temporality; the voice of the film; the spectator, narrator and narrative relationship based on the aesthetic devices used - photography, chosen soundtrack, the mix between live-action and animation - that make the film so touching and loaded with a symbolic-cultural charge. Gardies (2008) e Tarkovski (1998) will be fundamental references to support the discussion, alongside authors such as Benjamim (1994) and Adorno (2008).

scholarly journals O corpóreo e a erupção da bestialidade em Carne e Sozinho Contra Todos, de Gaspar Noé // The bodily and the eruption of bestiality in Meat and I Stand Alone, by Gaspar Noé

2019 ◽  
Vol 16 (3) ◽  
pp. 786
Author(s):  
Josette Alves de Souza Monzani ◽  
Mario Sergio Righetti
Keyword(s):  
Life History ◽  
The Body ◽  
The Social ◽  
History Of ◽  
Historia De Vida ◽  
The Spectator ◽  
The Aesthetic ◽  
Aesthetic Procedures

Resumo: Procura-se apontar de que modo os procedimentos estéticos do diretor franco-argentino Gaspar Noé acabam por realizar uma proposta de cinematografia radical que estabelece uma tensão no compartilhamento sensorial entre o corpo da tela, o corpo da câmera e o corpo do espectador. Carne (1991) e Sozinho Contra Todos (1998) narram a história de vida do Açougueiro, um cidadão à margem da sociedade metropolitana francesa, marcada por represamentos afetivos que o comprimem e levam a cometer ações bestiais marcadas por ‘enganos’, equívocos que o prejudicarão para sempre.O corpo cinematográfico de Noé faz uso da imagem e do som hápticos, trilhando um caminho batailleano - através da transgressão, da sensorialidade e da experimentação do abjeto -, e através deles busca induzir no espectador o que denominamos afeto carnal e corporeidade imanente como forma de pontuar as questões sociais e éticas propostas pelo diretor. Abstract: It is tried to point out how the aesthetic procedures of the French-Argentine director Gaspar Noé end up making a proposal of radical cinematography that establishes a tension in the sensorial sharing among the body of the screen, the body of the camera and the body of the spectator. Meat (1991) and I Stand Alone (1998) chronicle the life history of the Butcher, a citizen on the fringes of French metropolitan society, marked by affective imprisonments that compel him to commit bestial actions marked by ‘mistakes’, mistakes that will do him harm forever. The cinematographic body of Noé makes use of haptic image and sound, traversing a Bataillean path - through transgression, sensoriality and experimentation of the abject - and by them seeks to induce in the viewer what we call carnal affection and immanent corporeity as a way of punctuating the social and ethical questions proposed by the director.

The “Coming” Epic of Freedom: Reading Sri Aurobindo’s Savitri as a Mythopoesis in Opposition to Sovereign Control

2021 ◽  
Vol 9 (2) ◽  
pp. 201-218
Author(s):  
Dr. Indrani Datta Chaudhuri
Keyword(s):  
Third World ◽  
General Trend ◽  
Future Generations ◽  
The West ◽  
Epic Poem ◽  
Aesthetic Autonomy ◽  
New Nation ◽  
The Aesthetic ◽  
The Voice

There is a general trend among Western critics, and scholars influenced by the West, to stereotype Third World Literatures, particularly those from India, either as the voice of national consolidation or as providing the emancipated West with the required dose of mysticism and spiritualism. Sri Aurobindo’s works have fallen within either of these two categories. As a result, much of the aesthetic autonomy of his writings have been ignored. This article focuses on the unique quality of Sri Aurobindo’s works, with particular reference to his epic poem Savitri, and shows how he recreates indigenous and classical Indian legends, myths and symbols to subvert sovereign control initiated by the West. Savitri emerges as the representative epic for a new nation that has much more to offer to the future generations apart from the intangible ideas of mysticism and spiritualism. By reinforcing the concept of Shakti and the Mother as the primal Universal Consciousness the mythopoesis in Savitri stands in opposition to the anthropocentric and the anthropogenic machines of sovereignty, both ancient and modern. It establishes the fact that in the human resides the divine and that divinity is a kind of life that can be lived on this earth.

Voice, Affect, Grain: Their Relevance in Bodily Aesthetic Experience and Popular Singing Styles

2018 ◽  
Vol 7 (2) ◽  
pp. 205-225
Author(s):  
Melanie Strumbl
Keyword(s):  
Aesthetic Experience ◽  
Affect Studies ◽  
Affective Quality ◽  
Vocal Qualities ◽  
History Of ◽  
Quality Of Voice ◽  
The Aesthetic ◽  
Unique Style ◽  
The Voice

This article proposes that music and sound do not possess discursive meaning in a hermeneutical sense per se but should be recognized as a performative process. Consequently, music does not necessarily have meaning; rather, its essence is the moving of affects, a process of doing. The realization of music as a body in movement that affects other bodies is crucial to the understanding of the symbiosis of voice, sound, and body. Reading Jean-Luc Nancy's Listening enables a way of thinking about rhythm and timbre, sound, resonance and noise, voice and instrument, and ultimately song altogether that — connected with affect studies — might show the affectivity of resonating bodies and voices. Furthermore, Roland Barthes's essay The Grain of the Voice is an oft-cited and clairvoyant analysis of vocal sound that can be fruitfully combined with Nancy's philosophical treatise on the act of listening. Finally, notions of the affective turn will be linked with post-structuralist hermeneutics of the sonic quality of voice and sound. Against this theoretical backdrop, an endeavor to tackle the specific affective quality of voice and timbre should be made. Spectral analysis serves as an analytical tool to demystify the aesthetic appeal of singers like Janis Joplin, whose renditions are perceived as very emotional and authentic, due to her unique timbre and unique style of singing. Ultimately, the article is aiming towards discovering congruencies between aesthetic judgements on specific vocal artists and the sonic visualization of interpretation and vocal qualities thereof. Firstly, combining those two methodological approaches makes possible an analysis of the affective quality, the jouissance of an artist's mesmerizing voice and their aesthetic charm and, secondly, proves useful for cultural historians in terms of approaching an aesthetic phenomenon that has had relevance throughout the history of popular music.

From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981)

2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post
Keyword(s):  
Altered States ◽  
Thematic Structure ◽  
Personal Projects ◽  
Mise En Abyme ◽  
Narrative Representations ◽  
Close Analysis ◽  
Film Images ◽  
The Spectator ◽  
To Come ◽  
The Aesthetic

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

Barbara Hammer's Jane Brakhage

2020 ◽  
Vol 6 (2) ◽  
pp. 67-94
Author(s):  
Jennifer Peterson
Keyword(s):  
Short Film ◽  
Nonfiction Film ◽  
Feminist Thought ◽  
Environmental Thought ◽  
Stan Brakhage ◽  
The Many ◽  
The Voice ◽  
Creative Life

This essay analyzes Barbara Hammer's 1974 experimental nonfiction film Jane Brakhage. Both an homage and a rebuttal to the many films of Jane Brakhage made by her husband, Stan Brakhage, Hammer's film gives Jane the voice she never had in Stan's work. The article contextualizes Jane Brakhage's production at a moment when competing strands of feminist thought took different approaches to the fraught topic of nature. Hammer's films were criticized as essentialist by feminists in the 1980s, but this essay argues that Jane Brakhage complicates that reading of Hammer's work. The film documents Jane's creative life in the mountains, but critiques the limitations of her role as a heterosexual wife and mother. By locating this short film within a larger genealogy of feminist and environmental thought, we can better appreciate the extent to which Hammer's films explore the feminist and queer potential of nature.

Is Rotoscope True Animation?

2018 ◽  
Vol 10 (1) ◽  
pp. 12-18
Author(s):  
Christine Mersiana Lukmanto
Keyword(s):  
Single Frame ◽  
The Aesthetic ◽  
Live Action

Throughout the years, technologies have developed varied techniques for animators to create films. One of the oldest and interesting techniques of animating is Rotoscope by tracing every single frame from live action footages and enhancing it with animator’s style. In terms of anthropomorphism, it creates an uncanny realistic effect because it mimics the reality of the structure, the proportion and the movement. Due to its easy process in animating, there are some critiques and debates about how far rotoscoping can be considered as the “true” animation. This research would cover the identity of rotoscoping, professionals and animator’s perspective as well as the aesthetic of this technique. Keywords: rotoscope, realism, true animation, perspective and aesthetic

The Proximity of Other Skins

2019 ◽  
Author(s):  
Celine Parreñas Shimizu
Keyword(s):  
United States ◽  
South Korea ◽  
The United States ◽  
The Philippines ◽  
The Other ◽  
The West ◽  
Pain And Suffering ◽  
The Spectator ◽  
Existing Frames ◽  
The Voice

Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear, or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our worldviews. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don’t want to watch and don’t want to feel must be borne.

The Power of Everyday Aesthetics in World-Making

2017 ◽  
Author(s):  
Yuriko Saito
Keyword(s):  
Quality Of Life ◽  
Social Responsibility ◽  
Interpersonal Relationships ◽  
Daily Life ◽  
Personal Life ◽  
Moral Virtues ◽  
Everyday Aesthetics ◽  
The World ◽  
The Aesthetic

This chapter argues for the importance of cultivating aesthetic literacy and vigilance, as well as practicing aesthetic expressions of moral virtues. In light of the considerable power of the aesthetic to affect, sometimes determine, people’s choices, decisions, and actions in daily life, everyday aesthetics discourse has a social responsibility to guide its power toward enriching personal life, facilitating respectful and satisfying interpersonal relationships, creating a civil and humane society, and ensuring the sustainable future. As an aesthetics discourse, its distinct domain unencumbered by these life concerns needs to be protected. At the same time, denying or ignoring the connection with them decontextualizes and marginalizes aesthetics. Aesthetics is an indispensable instrument for assessing and improving the quality of life and the state of the world, and it behooves everyday aesthetics discourse to reclaim its rightful place and to actively engage with the world-making project.

scholarly journals From “the Moon Is Rounder Abroad” to “Bravo, My Country”: How China Misperceives the World

2021 ◽  
Vol 56 (1) ◽  
pp. 112-130 ◽  
Author(s):  
Haifeng Huang
Keyword(s):  
Large Scale ◽  
Chinese Society ◽  
The Moon ◽  
Foreign Countries ◽  
The Social ◽  
The World ◽  
Long Time ◽  
Global Affairs ◽  
Chinese Public

AbstractFor a long time, since China’s opening to the outside world in the late 1970s, admiration for foreign socioeconomic prosperity and quality of life characterized much of the Chinese society, which contributed to dissatisfaction with the country’s development and government and a large-scale exodus of students and emigrants to foreign countries. More recently, however, overestimating China’s standing and popularity in the world has become a more conspicuous feature of Chinese public opinion and the social backdrop of the country’s overreach in global affairs in the last few years. This essay discusses the effects of these misperceptions about the world, their potential sources, and the outcomes of correcting misperceptions. It concludes that while the world should get China right and not misinterpret China’s intentions and actions, China should also get the world right and have a more balanced understanding of its relationship with the world.

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