Cinema Novo, Glauber, Herzog

This chapter compares the trajectories of Glauber Rocha and Werner Herzog in the light of the Cinema Novo.

Além da diferença: a mulher no Cinema da Retomada

This paper analyses the female participation in the Brazilian Film Revival of the 1990s beyond differences of sex, race, class, age and ethnicity. Its main contention is that the most decisive contribution brought about by the rise of women in recent Brazilian cinema has been the spread of team work and shared authorship, as opposed to a mere aspiration to the auteur pantheon, as determined by a notoriously male-oriented tradition.

'Eden Cinema' by Marguerite Duras

Duras’s theatre work has been profoundly neglected by UK theatre academics and practitioners, and Eden Cinema has almost no performance history in Britain. My project asked three interconnected research questions: how developing the performance contributes to understanding Duras’s theatre and specifically Eden Cinema’s problems of performability; how multimedia performance emphasising mediated sound and the live body reconfigures memory, autobiography, storytelling, gender and racial identity; how to locate a performance style appropriate for Durasian narratives of displacement and death which reflect the discontinuous and mutable form of Duras’s ‘texte/film/théâtre’. Drawing on my research interests in gender, post-colonial hybridity and performed deconstruction, I focused my staging decisions on the discontinuities and ambivalences of the text. I addressed performability by avoiding the temptation to resolve the strange ellipses in the text and instead evoked the text’s imperfect and fragmented memories, and its uncertain spatial and temporal locations, by means of a fluid theatrical form. The mise-en-scène represented imagined and remembered spaces simultaneously, and co-existing historical moments. The performance style counterpointed live and mediated action and audio-visual forms. A complex through-composed soundscape, comprising voice-over, sound and music, became a key means for evoking overlapping temporalities, interconnected narratives and fragmented memories that were dispersed across the performance. The disempowerment of the mother figure and the silent indigenous servant in the text was demonstrated through their spatial centrality but physical stillness. The servant’s colonial subaltern identity was paralleled and linked with the mother’s disenfranchisement through their proxemic relationships. I elicited a performance style which evoked ‘characters’, whose being was deferred across different regimes of reality and who ‘haunted’ the stage rather than inhabited it. I developed the project further in the additional written outcomes and presentations, and the subsequent performance of Savannah Bay where problems of performability intensify until embodiment is almost erased except via voice.

The contributions of domain-general and numerical factors to third-grade arithmetic skills and mathematical learning disability

Explanations of the marked individual differences in elementary school mathematical achievement and mathematical learning disability (MLD or dyscalculia) have involved domain-general factors (working memory, reasoning, processing speed and oral language) and numerical factors that include single-digit processing efficiency and multi-digit skills such as number system knowledge and estimation. This study of third graders (N = 258) finds both domain-general and numerical factors contribute independently to explaining variation in three significant arithmetic skills: basic calculation fluency, written multi-digit computation, and arithmetic word problems. Estimation accuracy and number system knowledge show the strongest associations with every skill and their contributions are both independent of each other and other factors. Different domain-general factors independently account for variation in each skill. Numeral comparison, a single digit processing skill, uniquely accounts for variation in basic calculation. Subsamples of children with MLD (at or below 10th percentile, n = 29) are compared with low achievement (LA, 11th to 25th percentiles, n = 42) and typical achievement (above 25th percentile, n = 187). Examination of these and subsets with persistent difficulties supports a multiple deficits view of number difficulties: most children with number difficulties exhibit deficits in both domain-general and numerical factors. The only factor deficit common to all persistent MLD children is in multi-digit skills. These findings indicate that many factors matter but multi-digit skills matter most in third grade mathematical achievement.

Linguistic and cognitive motivations for the typological primacy model of third language (L3) transfer: considering the role of timing of acquisition and proficiency in the previous languages

This article elucidates the Typological Primacy Model (TPM; Rothman, 2010, 2011, 2013) for the initial stages of adult third language (L3) morphosyntactic transfer, addressing questions that stem from the model and its application. The TPM maintains that structural proximity between the L3 and the L1 and/or the L2 determines L3 transfer. In addition to demonstrating empirical support for the TPM, this article articulates a proposal for how the mind unconsciously determines typological (structural) proximity based on linguistic cues from the L3 input stream used by the parser early on to determine holistic transfer of one previous (the L1 or the L2) system. This articulated version of the TPM is motivated by argumentation appealing to cognitive and linguistic factors. Finally, in line with the general tenets of the TPM, I ponder if and why L3 transfer might obtain differently depending on the type of bilingual (e.g. early vs. late) and proficiency level of bilingualism involved in the L3 process.

eRPUK 2003: eCommerce and Retail Property in the UK: third annual benchmarking survey

This new survey, which has just been completed and includes brand new data, has been funded by the RICS Education Trust and the European Shopping Centre Trust. It follows up our 2000 survey of UK retailers, investors and developers. The report presents results from our new 2001 survey. This continuing benchmark series of studies includes an extensive review of developments in ecommerce and retail in Europe and the USA. The survey reveals a cooling in attitude towards ecommerce in the UK, but there is rapid growth in some sectors and polarisation and marginalisation of secondary centres are likely to increase. In Europe the growth of a three tier system of ecommerce 'pioneers', 'followers' and 'laggards' is becoming established, and the research also reveals results from a recent joint survey on US and UK retailers conducted with Colorado State University. There is a danger of complacency as UK online sales (in percentage terms) now outstrip USA.

Tempo, magnitude e o mito do cinema moderno

Neste texto, irei abordar três filmes ambientados em Portugal, cujas locações oferecem uma visão privilegiada da função do tempo e da magnitude no cinema, os quais, por sua vez, nos permitem reavaliar as categorias de clássico, moderno e pós-moderno aplicadas a esse meio. Trata-se de O estado das coisas (Der Stand der Dinge, Wim Wenders, 1982), Terra estrangeira (Walter Salles and Daniela Thomas, 1995) e Mistérios de Lisboa (Raúl Ruiz, 2010). Neles, a cidade se compõe de círculos viciosos, espelhos, réplicas e mise-en-abyme que interrompem o movimento vertiginoso característico da cidade modernista do cinema dos anos 20. Curiosamente, é também o lugar em que a assim chamada estética pós-moderna finalmente encontra abrigo em contos auto-irônicos que expõem as insuficiências dos mecanismos narrativos no cinema. Para compensá-las, recorre-se a procedimentos de intermídia, tais como fotografias de polaroid em O estado das coisas ou um teatro de papelão em Mistérios de Lisboa, que transformam uma realidade incomensurável em miniaturas fáceis de enquadrar e manipular. O real assim diminuído, no entanto, se revela um simulacro decepcionante, um ersatz da memória que evidencia o caráter ilusório da teleologia cosmopolita. Em minha abordagem, começarei por examinar a gênese interligada e transnacional desses filmes que resultou em três visões correlatas mas muito diversas do fim da história e da narrativa, típico da estética pós-moderna. A seguir, irei considerar o miniaturismo intermedial como uma tentativa de congelar o tempo no interior do movimento, uma equação que inevitavelmente nos remete ao binário deleuziano tempo-movimento, que também irei revisitar com o fim de distingui-lo da oposição entre cinema clássico e moderno. Por fim, irei propor a stasis reflexiva e a inversão de escala como demonominadores comuns entre todos os projetos ditos modernos, que por esta razão, segundo creio, são mais confiáveis que a modernidade enquanto indicadores de valores artísticos e políticos.

Reflexive stasis, scale reversal and the myth of modern cinema

This chapter looks at three films whose Portuguese urban settings offer a privileged ground for the re-evaluation of the classical-modern-postmodern categorisation with regard to cinema. They are The State of Things (Wim Wenders, 1982), Foreign Land (Walter Salles and Daniela Thomas, 1995) and Mysteries of Lisbon (Raúl Ruiz, 2010). In them, the city is the place where characters lose their bearings, names, identities, and where vicious circles, mirrors, replicas and mise-en-abyme bring the vertiginous movement that had characterised the modernist city of 1920s cinema to a halt. Curiously, too, it is the place where so-called postmodern aesthetics finally finds an ideal home in self-ironical tales that expose the film medium’s narrative shortcomings. Intermedial devices, whether Polaroid stills or a cardboard cut-out theatre, are then resorted to in order to turn a larger-than-life reality into framed, manageable narrative miniatures. The scaled-down real, however, turns out to be a disappointing simulacrum, a memory ersatz that unveils the illusory character of cosmopolitan teleology. In my approach, I start by examining the intertwined and transnational genesis of these films that resulted in three correlated visions of the end of history and of storytelling, typical of postmodern aesthetics. I move on to consider intermedia miniaturism as an attempt to stop time within movement, an equation that inevitably brings to mind the Deleuzian movement-time binary, which I revisit in an attempt to disentangle it from the classical-modern opposition. I conclude by proposing reflexive stasis and scale reversal as the common denominator across all modern projects, hence, perhaps, a more advantageous model than modernity to signify artistic and political values.