Aesthetic of improvisation in periphery’s cinema
The analysis of the documentary Super gato contra o apagão (Kinoforum, 2002) and Como se rouba a cena no cinema (Kinoforum, 2006) reveal a significant presence of improvisation – the making, the production conditions of existence – that is what we’ll call the aesthetics of improvisation, an importan...
| Autor: | |
|---|---|
| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2012 |
| País: | Brasil |
| Recursos: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositório: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | português |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/11005 |
| Acesso em linha: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/11005 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Cinema of the periphery aesthetic improvisation Cine de Periferia Estética Improviso Cinema de periferia estética improviso |
| Resumo: | The analysis of the documentary Super gato contra o apagão (Kinoforum, 2002) and Como se rouba a cena no cinema (Kinoforum, 2006) reveal a significant presence of improvisation – the making, the production conditions of existence – that is what we’ll call the aesthetics of improvisation, an important aesthetic feature film production in the periphery. This discussion is anchored in Mikhail Bakhtin´s concept of aesthetics. When considering the aesthetic activity as part of a whole socio-historical circumscribed, the author points to two aspects: the rejection of the idea of “art for art’s sake” and the refusal of artistic production as a mere reflection of the filmmaker´s psychic and subjective activity. This postulate is beneficial, therefore, to understand the aesthetic organization in films made in outlying communities. |
|---|