Banca de DEFESA: BEATRIZ ANDRADE STEFANO

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : BEATRIZ ANDRADE STEFANO
DATE: 10/08/2022
TIME: 10:00
LOCAL: Via Videoconferência Google Meet (Pandemia Covid19)
TITLE:

GESTURE, PERFORMANCE AND THEATRALITY IN DOCUMENTARIES Era o Hotel Cambridge (2016, Swinguerra (2019) e AGORA (2020).

KEY WORDS:

gesture; performance; theatrically; documentary; Brazilian cinema;

PAGES: 79
BIG AREA: Ciências Sociais Aplicadas
AREA: Comunicação
SUMMARY:

The crossings between fiction and real are increasingly subtle and less demarcated when we thought in the images production for social media. The large production of oneself through the images shared in digital platforms stars from an indiscernibility, between real and fiction, constitutive of the contemporary subject. In the contemporary cinema, we may be think about this condition in the approach to the visual arts. The research makes a cut and selected three Brazilian and contemporary documentaries that present an intense relationship between performance and theatricality, resulting an investment of the body, at the same time that the image denounces it as manipulation. Based on the writings of Josette Féral (2015) about performance and theatrically, the essay seeks to analyze the performative dimension that gives the image an experience of the lived and the theatrically that denounces the ordering of the scene. The research corpus consists of the documentaries: Era o Hotel Cambridge (2016) by Eliane Caffé; Swinguerra (2019) by Bárbara Wagner and Benjamin de Burca; and AGORA (2020) by Andréa Ferraz. In addition to this formal approach, there is also a political context in which such films are inserted. All of them, in their own way, address the unfolding of neoliberal political in a micro-political context, how they affect the subject’s relationship with the other and in the contact with himself. The gestures is decisive for thinking about the dimension of this political, as it creates tension in the peaceful relationship between the real and the fiction in the image. In view of this, the notion of gesture will be thought from a perspective of non- normalization of our body movements, fruits of social constitution mediated by control devices. “In cinema, a society that has lost it gestures, seeks to reappropriate what it has lost and, at the same time, registers its loss.” (AGAMBEN, 2015, p. 54)

BANKING MEMBERS:
Externo à Instituição - OSMAR GONÇALVES DOS REIS FILHO - UFC
Presidente - 1435892 - NINA VELASCO E CRUZ
Interno - 2322090 - THIAGO SOARES