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Master's Dissertation
DOI
10.11606/D.27.2017.tde-13032017-135431
Document
Author
Full name
Raul Lemos Arthuso
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2016
Supervisor
Committee
Hamburger, Esther Imperio (President)
Saber, Tales Afonso Muxfeldt Ab'
Xavier, Ismail Norberto
Title in Portuguese
Cinema independente e radicalismo acanhado: ensaio sobre o novíssimo cinema brasileiro
Keywords in Portuguese
Cinema brasileiro
Contemporâneo
Narrativa
Novíssimo cinema brasileiro
Personagem
Abstract in Portuguese
Esta dissertação tem por objetivo traçar um panorama crítico do jovem cinema brasileiro independente, conhecido como novíssimo cinema brasileiro, no período de 2005 a 2011. Esteticamente, essa nova geração incorpora formas consagradas do cinema contemporâneo de arte internacional numa chave particular, na qual os recursos da linguagem parecem retesados, realçando o detalhe, o peso da extensão do tempo e a força de momentos marcados ao invés da ambiência, o movimento e a porosidade da estética de fluxo, espelhamento de sua experiência de interlocução problemática com o corpo social. Os filmes ganham em força subjetiva, expressando a sensibilidade do criador-narrador. A interação entre esta sensibilidade e um mundo em crise circunscreve a leitura das obras, mostrando como as soluções formais dos filmes vão de um processo de acanhamento do olhar a uma afirmação desse olhar extremamente subjetivo como postura radical frente ao impasse, sendo possível falar em um radicalismo acanhado, desejando explodir o mundo, mas sem energia para realizá-lo, suspendendo o confronto.
Title in English
-
Keywords in English
Brand new Brazilian cinema
Brazilian cinema
Character
Contemporary
Narrative
Abstract in English
The goal of this essay is to draw a critical panorama of the young independent Brazilian cinema, known as novíssimo cinema brasileiro (brand new Brazilian cinema), from 2005 to 2011. Aesthetically, this new generation takes forms already established in contemporary international arthouse cinema and incorporates them in a particular manner, through which film language procedures seem stiffened, highlighting the detail, the weight of the extension of time and the power of specific moments instead of ambience, the movement and the porosity of flux aesthetics, thus reflecting its own problematic experience of interchange with the social body. The films gain in subjective power, an expression of the sensibility of the creator-narrator. The interaction between this sensibility and an outer world in crisis permeates the interpretation of the pieces, demonstrating how the formal solutions contained in the films go from a growlingly timid outlook to an affirmation of this extremely subjective outlook as a radical posture before impasse, making it possible to speak of a timid radicalism, which wishes to explode the world but has no energy to do so, thereby suspending confrontation.
 
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RAULLEMOSARTHUSO.pdf (1.09 Mbytes)
Publishing Date
2017-03-13
 
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