Pluralidade, mudança e produção de valor na edição de livros: notas sobre a edificação social da cultura impressa

Habitando um campo de intermediação, filtragem e interpretação, o editor assume um papel de legitimação, ordenação e prescrição do mundo pela via tipográfica. O esforço de realização de um livro não se restringe à génese autoral do texto. O livro resulta de um trabalho que implica acrescento simbólico e viabilidade de circulação, sem os quais o objecto se perde enquanto objecto de desejo, factor de aval de conteúdos ou elemento de alarde identitário. A existência de um livro corresponde em grande parte à acção editorial de o instituir socialmente como obra conhecida e reconhecida pelos seus receptores finais. Produtor de valor e materialidade, o editor inscreve o projecto do livro num espaço social colaborativo de trabalho, o campo da edição. Esta apresentação procura sistematizar teoricamente alguns tópicos relativos à articulação do editor com a construção social do campo editorial e a edificação da cultura impressa. Empreender semelhante exploração é abdicar forçosamente de uma visão linear, unidimensional e a-histórica do mundo social e cultural do livro, cuja morfologia e suportes conhecem crescentemente os desafios da desmaterialização.

Transvase : quando a ficção invade a realidade

ABSTRACT: Adopting the concept of metalepsis, as explained by Gérard Genette, I intend to tackle the miscegenation of ontological worlds as practiced in metacinematic films dealing either with the creator or the spectator and made famous with Woody Allen’s film The Purple Rose of Cairo (1985, EUA). Assuming the existence of two adjoining fictional universes, one of them intrafilmically projected onto a screen and the other positioned in front of it so as to create or observe the other, one realizes that, in fact, they both communicate in a more intense way. That is, they both can cross the barrier that separates them and function, literally, as communicating vessels thrusting themselves onto the other side of fiction. The use of this screen passage technique – which I call ‘spilling narrative’ – although it takes place inside the film, at an intradiegetic level, cannot be considered a simple comic effect. In actuality, it is a very serious affair, denoting the authorial intervention as a reflexive practice of écriture by means of a mise en abyme, according to Lucien Dällenbach. Therefore, the fictional spilling over of worlds which totally blends together both sides of the twice artificial universe of the fabula, represents the emotional and intellectual involvement of the creator with his/her creation and of the spectator with the world watched. Both illustrate the desire of fusion inherent in the acts of creation and reception. My approach will be based on Gabriele Salvatores’ Happy Family (2010) and Wojciech Marczewski’s Escape from the ‘Liberty’ Cinema (1990).

Os (in)sofismáveis caminhos do storytelling : Woody Allen e o documentário ficcionado

ABSTRACT: Between pure documentary and pure fiction there are, more and more, a reasonable number of cinematic alternatives that convey a dimension of non-reality. Between the pointedly factual discourse and the irrational belief in an entirely narrative world, there intervenes an informed conviction in a truthful but nonexistent universe, in which the formal enunciation sells an image of objectivity. In a path that leads us from the forms and contents of reflexive and performative documentaries, according to Bill Nichols, and ends up in fake documentary itself, we will have the opportunity to stress the filmic construction and its inherent narrative purpose, be it a fictional story or the creator himself as character (others would say subject) of the cinematic construct. In a boomerang kind of logic, the more the objects direct us to a referent, the more they restore us a creative/authorial reference and, along with it, the narrative idea that instills it. In Woody Allen’s case, this storytelling manifests itself in the fake documentary genre, which works as if it is the reality, only to better manifest the sole reality that interests the director: that of the metacinema, or the cinema as self-referencial reality. The practical examples will be derived from the following films: Take the Money and Run (1969) e Husbands and Wives (1992).

Twin Peaks como alegoria daimónica cinematográfica

For a long time the allegorical activity was considered dogmatic and equated with artistic fossilization, archaic religious propensity and lack of creativity. However, Walter Benjamin (1928) and Paul De Man (1969), among other illustrious thinkers, came to its defense, exalting, instead, its cryptic, hybrid and abstract nature, which, incidentally, are the main characteristics of modern art. “Twin Peaks – Fire Walk with Me” (David Lynch, 1992) is a wonderful object of analysis, despite being one of the most misunderstood films in the history of cinema. The fact that its narrative is a prequel to the cult television series “Twin Peaks” and incorporates many of the characters of that show, explicitly denigrating the moral image of the protagonist, Laura Palmer, brought about an intense rejection by the fans of the series, as well as the indifference of the cinephilic community in general. However, one must go deeper, in order to understand Lynch’s brave accomplishment and its artfulness. Indeed, the opus is a powerful cinematic allegory because it contains a double layer of metaphorical meaning, one of them being explicitly metacinematic. Thus, besides assuming itself as a filmic daimonic allegory, occurring in a spiritual universe of Good versus Evil, the film is also an authorial discourse on cinema itself. More specifically, it is an allegory of spectatorship, according to Robert Stam’s definition, where the existence and crossing over to “another side” duplicates the architecture of movie theatres and the psychic processes involved in film viewing.

O repeat viewing no contexto do metacinema

Partindo da explicação daquilo que neste ensaio se entende por “metacinema” e a sua relevância como discurso autoral sobre a sétima arte, aborda-se o fenómeno do visionamento múltiplo de uma mesma obra (aspeto conhecido em inglês como “repeat viewing”). Este fenómeno permite um contato privilegiado entre o meta espetador, propenso a aderir em maior grau aos metafilmes, e o meta realizador, inclinado a construir uma carreira em torno da execução dos mesmos. Em causa está o visionamento e o fabrico de obras, direta ou indiretamente, especializadas no universo cinematográfico. A mediação do dispositivo cinematográfico na projeção em sala ou a apropriação de novas e cada vez mais versáteis tecnologias de captação e reprodução audiovisual permite transformar o vidente cinéfilo num utilizador compulsivo, conferindo ao cinema atualmente uma dimensão háptica que ele não detinha da mesma forma anteriormente. O espetador apropria-se de obras criadas por outrem, atribuindo-lhes uma nova forma e um novo sentido, mas dentro de um contexto cinéfilo. Inversamente, o criador é voluntariamente apropriado pela indústria, permitindo o consumo de si mesmo nas edições em videograma e trabalhando internamente as obras e os seus mecanismos formais e narrativos para geraram maior e mais multiplicadas formas de consumo junto dos espetadores. Assim se fomenta uma jornada que não é do herói, mas sim do vidente. Para concluir, defende-se que a maior acessibilidade fílmica permitida pela disseminação de novas janelas de consumo cinematográfico incrementa o repeat viewing e uma apropriação cada vez maior das obras, mas em contrapartida, pode desencadear a nulidade do discurso metacinematográfico e o esboroar do metacinema como tal.

Alumbramentos: investigação e escrita de argumento para documentário: trabalho de projeto

Trabalho de Projeto submetida(o) à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Desenvolvimento de Projecto Cinematográfico - especialização em Narrativas Cinematográficas.

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.