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Doctoral Thesis
DOI
10.11606/T.27.2017.tde-27092017-103239
Document
Author
Full name
Theo Costa Duarte
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2017
Supervisor
Committee
Machado Junior, Rubens Luis Ribeiro (President)
Martins, Sérgio Bruno Guimarães
Oliveira Júnior, Luiz Carlos Gonçalves de
Jaremtchuk, Dária Gorete
Silva, Mateus Araújo
Title in Portuguese
O cinema de vanguarda em diálogo com as artes visuais: contrastes e paralelos em experiências brasileiras e norte-americanas (1967-1971)
Keywords in Portuguese
Cinema Experimental
Cinema Marginal
Ernie Gehr
Hélio Oiticica
Júlio Bressane
Lágrima-Pantera
Mangue Bangue
Michael Snow
Minimalismo
Serene Velocity
Wavelength
Abstract in Portuguese
O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de "Cinema estrutural" e de "Cinema marginal", respectivamente. Ambas tendências, qualificadas como "cinema experimental", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um "pós-tropicalismo" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades.
Title in English
The avant-garde cinema in dialogue with the visual arts: contrasts and parallels in Brazil and North-America
Keywords in English
Cinema Marginal
Ernie Gehr
Experimental film
Hélio Oiticica
Júlio Bressane
Lágrima-Pantera
Mangue Bangue
Michael Snow
Minimalism
Serene Velocity
Wavelength
Abstract in English
The main purpose of the thesis is to discuss and analyse films from the late 60's and early 70's that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as "Structural film" and "Cinema marginal". Both tendencies, usually considered in the same field of an "experimental cinema", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the "post-tropicalism" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.
 
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TheoCostaDuarte.pdf (6.87 Mbytes)
Publishing Date
2017-09-27
 
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