Cinema e religião: teorias de processos recursivos e de transformações.

Este artigo tem por objetivo sustentar a plausibilidade da seguinte hipótese: as imagens religiosas presentes no cinema de Sergei Eisenstein são elementos poderosos no sentido de nos fazer pensar e agir diferente. Para tanto, nossos esforços concentrar-se-ão em dois sentidos principais. Em um primeiro momento vamos a busca de fundamentar teoricamente a apropriação de Gilles Deleuze em relação a epistemologia de Henri Bergson. Com isso, importa-nos pavimentar a compreensão dos principais conceitos deleuzeanos, presentes em Cinema I – A imagem-movimento (1983), e em parte Cinema II- A imagem-tempo (1985). Ainda neste primeiro momento, passaremos às análises realizadas por Deleuze sobre o cinema de Eisenstein. Aqui, nosso foco específico é apresentar em linhas gerais, o que o filósofo francês entende por montagem soviética. Desta feita, passaremos a apresentação dos aspectos da reflexão de Eisenstein sobre o cinema e sua relação com as estruturas arcaicas de pensamento, e como isso se alinha ao seu desejo de provocar nos espectadores afetos e disposições desconhecidas. Finalmente, com vistas a reforçar nossa hipótese, investiremos atenção na análise de três filmes A greve (1925), Encouraçado Potemkin (1925), e Que viva México! (1979).

A poesia eisensteiniana de Vinicius de Moraes: o olhar cinematográfico de uma poética

RESUMO Este artigo, divido em duas partes, vislumbra analisar algumas das técnicas do cineasta russo Sergei Eisenstein à luz da poética de Vinicius de Moraes. Sobretudo as técnicas estudas e divulgadas pelo poeta brasileiro em suas crônicas de cinema para os jornais de sua época. Para tanto, na primeira parte do artigo, o poema “Tríptico da morte de Sergei Mikhailovitch Eisenstein”, de Vinicius de Moraes, será utilizado como suporte da análise. Além disso, parte da biografia do cineasta será contemplada para melhor apreciação do avanço e uso das técnicas artísticas de Eisenstein na composição de seus filmes. Já na segunda parte do artigo, pretendemos destacar aspectos sociais e políticos ao fazer uma leitura intermidiática do poema “O operário em construção” em diálogo com o filme A greve, de Sergei Eisenstein.

“CRAZY ZOOM MAKES EVERYONE TO FIND HIMSELF IN A DOUBLE ROLE OF A SPECTATOR AND AN ACTOR”

Oksana Bulgakowa is a researcher of visual culture, a film critic, a screenwriter, a director, and a professor at the Johannes Gutenberg University Mainz. She has taught at the Humboldt University of Berlin, the Leipzig Graduate School of Music and Theater, the Free University of Berlin, Stanford University and the University of California Berkeley. Author of the books “FEKS: Die Fabrik des exzentrischen Schauspielers” (1996), “Sergei Eisenstein – drei Utopien. Architekturentwürfe zur Filmtheorie” (1996), “Sergej Eisenstein. Eine Biographie” (1998), “The Gesture Factory” (2005, a renewed edition to be published by NLO publishing house in 2021), “The Soviet hearing eye: cinema and its sensory organs” (2010), “The Voice as a cultural phenomenon”(2015), “SINNFABRIK/FABRIK DER SINNE” (2015), “The Fate of the Battleship: The Biography of Sergei Eisenstein” (2017). Author of the network projects “The Visual Universe of Sergei Eisenstein” (2005), “Sergei Eisenstein: My Art in Life. Google Arts and Culture” (in collaboration with Dietmar Hochmuth, 2017–2018), and the films “Stalin – eine Mosfilmproduktion” (in collaboration with Enno Patalas, 1993), “Different Faces of Sergei Eisenstein” (in collaboration with Dietmar Hochmuth, 1997). In this issue of P&I, Oksana Bulgakowa talks about medial giants and midgets, obscene gestures of Elvis Presley, “voice-over discourse” of TV presenters, and the birth of Eisenstein’s “Method” from psychosis and neurosis. Interview by Ekaterina Maksimova. Photo by Dietmar Hochmuth.

Una película de Robert Flaherty, en la pampa, filmada por Sergei Eisenstein, para Victoria Ocampo, a espaldas de Waldo Frank

Victoria Ocampo meets Sergei Eisenstein in New York, in 1930. He is on his way to Hollywood where he plans to make a film and she is there to meet Waldo Frank and discuss the project of the journal Sur. Ocampo invites the filmmaker to come to Argentina make a film about the pampas. The aim of this article is to reconstruct the relationship between the writer and the filmmaker in order to support the hypothesis that we might identify some traces of that project in the film Eisenstein engages with when his trip to Argentina fails: ¡Que viva México!.

Ascensão, vertigem e queda: correspondências entre Limite e Mundéu

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.

Cinema's Doppelgängers

Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood. The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism.

The Origins of Recycled Films

At the beginning of cinema, in his early twentieth-century research the Soviet director and film theorist Sergei Eisenstein developed his theory of associative montage “1+1=3.” Nowadays, new methods have been added to this theory. These variables include the creative re-use of allusions to film history. In contemporary cinema, when a new archive film uses sequences from cinema heritage, it quotes from the past and can activate visually and content-wise complex cultural memories. In these films, the successive placement of two sequences, beyond their association, creates new associative meaning, thus, it calls forth metacinematic associations. This additional meaning is the imprint of cinematic heritage. Final Cut by György Pálfi and Péter Lichter’s works make use of the archives of cinematic heritage through a reinterpreted film language, attempting to create independent, innovative works of art. They use the same starting point, based on a directorial concept, but the two attempts resulted in completely different motion pictures. Due to the approach at the basis of their conception, these films illustrate both the linear, i.e., the archetypal narrative film representation and the nonlinear narration. However, these films are not only defined by the scenes they are compiled of, but also bear the particularities of the original motion pictures, referring to and going far beyond the individual characteristics of the scenes themselves. Despite being linear narrative films, the cinematic rhetoric of neither motion picture is continuous but associative - they bring into play layers of film culture. Overall, Eisenstein’s formula can be extended in the following way: 1 afs (archive film sequence) + 1 afs (archive film sequence) = 3 mca (metacinematic associations).

“Both in and Out of the Game, and Watching and Wondering at it”

Contributor Bursztajn-Illingworth treats Lee’s montage as an example and critique of the Whitmanic montage tradition Sergei Eisenstein describes. Bursztajn-Illingworth turns to the response Langston Hughes’s poem “I, Too,” gives to Whitman, a poem that is as much a protest as it is a declaration. Bursztajn-Illingworth regards Hughes’ poem as a precursor to Lee’s opening montage. She relates Lee’s recurring use of direct-facing photographs of black subjects that constitute something of a formal portrait to Hughes’s moves that gives voice to those in America who may not otherwise have one. Bursztajn-Illingworth contends that Lee sets his portraits against an American landscape that refuses to give way to one experience. The land belongs to each of those Lee places in the center of his frame. In this way, Lee providing his audiences a sense of black presence in America, even if that presence stands outside the main narrative of the larger film.