Art and memory: Magdalenas por el Cauca

Adopting an interdisciplinary framework of Memory Studies and Art and employing semiotics with a multimodal and multimedia character, it is explored how social groups in Colombia memorialise the violence of the internal armed conflict. The reflection associates the victims’ experiences with those expressions of commemoration and remembrance that are narratives embodied in visual and scenic art. It is explored how a semiotic landscape of memory is created through a performative artistic proposal. In this landscape, not only cultural frames can be determined, but also the semiotic-discursive resources that give meaning to the relationship between art and memory. The aim is to characterise the performance known as Magdalenas por el Cauca (2008) which was recorded audiovisually in several spaces on the internet. It means that, in addition to the ephemeral mise-en-scène, there are records of the performative and communicative work. In this article, we analyse the video X PEREGRINACION TRUJILLO y MAGDALENAS POR EL CAUCA (2010), one of the records that perpetuates Magdalenas por el Cauca. This reparation act is an audiovisual narrative with ethical and political character and produced collectively by relatives of victims, witnesses, artists and other interlocutors, which interpret and assign new meanings to the performance.

MORFOLOGÍA Y SIGNIFICADO DE LA CAMA EN MARCEL PRÉVOST. DEL LECHO CONYUGAL AL CAMASTRO DEL ADULTERIO

El erotismo ha sido siempre una constante en la producción literaria de Marcel Prévost. Una sutil exaltación física del deseo que el escritor parisino proyectaba en la narrativa de aquellas escenas y situaciones que recreaba en sus textos. En muchas de ellas, la cama será el centro neurálgico de esa amatoria, generada o contenida, alrededor de la cual las mujeres burguesas tamizaban su existencia en el círculo social al que pertenecían. A lo largo del presente estudio profundizaremos en los significados de la cama, yendo desde la sacralidad del lecho conyugal a los camastros improvisados en lugares ocultos para consumar la infidelidad, concibiéndose este mueble de sueño y ensueño como dual representación física de libertad y sujeción entre los individuos. Abstract: Despite not being recognised by the literary critics as an erotic writer, Marcel Prévost frequently invokes the heightening of passionate love and the scenes which depict it. In many of them, the bed was the nexus of that ars amatoria, created or contained, around which Bourgeois ladies sifted their existence within the social circle they inhabited. This paper examines in depth the meanings of the bed, from a sacrosanct marital space to a clandestine mise-en-scene to consummate adulterous liaisons, approaching this piece of furniture, created for sleep and dreams, as a dual physical representation of freedom and subjection between individuals.

TEATRALIDAD Y MODOS DE REPRESENTACIÓN EN EL MELODRAMA DE RAINER W. FASSBINDER: DE SIRK A ARTAUD

El presente artículo explora el concepto de teatralidad cinematográfica a partir de un análisis de la estética del melodrama y el estudio formal de la obra de uno de los grandes renovadores del género, el director alemán Rainer W. Fassbinder. En concreto, toma como referencia la película Todos nos llamamos Ali (1974) para examinar su recepción del melodrama clásico o sirkiano, demostrando que la filiación teatral del género no se debe simplemente al perfeccionamiento de los valores plásticos de la puesta en escena sino también a la importancia del cuerpo del actor o actriz como entidad de sentido privilegiada, y en el caso de Fassbinder, a la influencia combinada de Brecht y Artaud. El análisis está precedido por una valoración de la idea de teatralidad desde la teoría intermedial, así como de la filiación del melodrama como género con el medio escénico. Abstract: This article deals with the concept of theatricality in film by studying the aesthetics of melodrama and discussing the work of one of the genre’s most prominent renovators, German filmmaker Rainer Werner Fassbinder. Particularly, it centers on the film Ali: Fear Eats the Soul (1974) in order to explore its reception of classic or sirkian melodrama, proving that the theatrical nature of the genre is not merely due to the refinement of the plastic values of mise-en-scène and placing, but also to the importance of the performer’s body as a privileged source of meaning, and, in Fassbinder’s works, to the combined influence of Brecht’s and Artaud’s. Our analysis is introduced by a critical examination of the idea of theatricality from the perspective of Intermedial Theory and an exploration of the bonds between performing stage and melodrama as a genre.

Documentário sobre o processo de criação em dança: história(s) e memória(s) do corpo em movimento

RESUMO Este artigo pretende refletir sobre uma perspectiva singular de produção histórica de/sobre dança. É a partir de uma relação interdisciplinar, que envolve a dança e o cinema, que o documentário A Alma do Gesto (2020) é tomado como eixo e objeto empírico de investigação para analisar o processo de criação em uma companhia de dança como produção de uma narrativa memorial sobre o gesto e o corpo em movimento mediado por tecnologia digital. A ancoragem teórica se apoia em autores que tratam de crítica de processo, arquivo memorial, história, documentário e mise-en-scène, como base para se repensar e concluir que, aqui, as fontes documentais primárias são atravessadas pela ficção dançante.

Military Costume in Ukrainian Theaters Performances of the First Half of the XX Century

The purpose of the article is focused on the analysis of the distribution of military costumes in Ukrainian theatrical performances of the first half of the twentieth century. We consider the role and significance of military costumes as an important component of the construction of the mise-en-scène of the play and the means of creating its texture to be especially important here. Methodology. The methods used to achieve this goal are used in the sequence and interaction of the practice group and the theoretical group. First, based on a combination of cultural-historical and historical-comparative methods, it is important to trace the first examples of the appearance of characters in military costumes in the plot of the play and establish their meanings. Thus, historicism allows us to establish the main trends and traditions that emerged in the chronotypes of various performances. Given the need to superimpose images from the dramatic text on the images of characters and the composition of mise-en-scène, it is also necessary to use the hermeneutic method. The scientific novelty is due to the lack of academic works and publications on this topic, and therefore the article for the first time raises the question of the development of the typology of theatrical costume during the first half of the twentieth century. The conclusions obtained by the author during the analysis of the collected materials are based on the three most important points. Military costume in Ukrainian drama and performance was used in the XIX century as a marker of individual characters who particularly influenced the decision of the culminating events of the plot and were the bearers of special skills and abilities. The appearance of plots related to revolutionary events in the play makes the military costume on the stage popular. In the synthesis of the arts involved in the play, the military costume became the leading texture that formed the latest mythologies of characters and meanings in theatrical art. Key words: military costume, the mythology of a military character, soldier-magician, someone else's costume.

Two Mulan Films - Same Source, but Different Story: Comparisons on Camera Shot and Colour Styles

“Lady General Hua Mulan” and Disney “Mulan” are created from the same source “Ballad of Mulan”, which is the oldest known version of Mulan’s story. Nevertheless, these two works differ in many ways, such as the characters, Mulan's personality, narrative structure, theme, etc. These differences also affect the mise-en-scène of the work, resulting in a different use of camera techniques and colours. In the process of developing the narrative structure, the director uses various camera techniques and colours to effectively convey specific messages and emotions to the audience. This work examines what the artist intends to present to the audience while changing the distance, angle, or the relationship between the camera and the object, which are the basic elements of the objective point-of-view shot. Regarding the study of colour, this study focuses on the influence of the differences in the narrative structure of the two films on the choice of colour. Also, this study explains how the director uses colour to effectively convey the main message of the narrative.

Subjetividades em foco

O artigo objetiva analisar, a partir de uma perspectiva foucaultiana, as práticas jurídicas e judiciárias do direito de família e problematizar seu funcionamento como mecanismos de produção de uma mise-en-scène a partir da qual se criam subjetividades e na qual jogos discursivos estrategicamente articulados operam e disputam verdades. Para tanto, recorre-se a duas obras cinematográficas que retratam o litígio judicial de casais em torno da guarda de seus filhos e ilustram a produção de subjetividades e de performances vinculadas aos papéis materno e paterno. Essas obras ilustram como a vigilância do aparato jurisdicional sobre as famílias pode funcionar como um instrumento de normalização de comportamentos e de reforço para a representação performática de papeis no campo social (homem/mulher, masculino/feminino, mãe/pai). Esse aporte crítico traz questionamentos e demanda reflexão em torno dos discursos jurídicos universalistas de proteção à pessoa humana, do melhor interesse da criança, de privatização do direito de família e do valor jurídico do afeto.

O discurso em notícias falsas sobre universidades brasileiras: uma perspectiva semiolinguística

Este estudo objetiva analisar a ação das notícias falsas na construção de uma mise-en-scène que resulte um discurso de demérito para as universidades brasileiras. A metodologia utilizada é exploratória, bibliográfica e qualitativa. Na análise dos dados empregamos a Teoria Semiolinguística proposta por Charaudeau (2016). O corpusde estudo é composto por duas notícias falsas publicadas no Facebook. Constatamos que o sujeito comunicador encena em seu discurso um imaginário que associa a nudez às universidades de forma pejorativa, buscando um sujeito interpretante associado ao seu espectro político-ideológico, que veja essas cenas com asco e adira a seu contrato de comunicação.