Refractions of the movie film concept in Rogério Sganzerla’s work
The article examines the critical-creative thinking of the filmmaker Rogério Sganzerla (1946-2004), crossing his theoretical production with constructive procedures of The Red Light Bandit (1968), his debut in the direction of feature films. Our hypothesis is that the look at Sganzerla’s system of p...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Intexto (Porto Alegre) |
| Idioma: | portugués |
| OAI Identifier: | oai:seer.ufrgs.br:article/92583 |
| Acceso en línea: | https://seer.ufrgs.br/index.php/intexto/article/view/92583 |
| Access Level: | acceso abierto |
| Palabra clave: | Rogério Sganzerla. Cinema brasileiro. Crítica. Dialogia. Metalinguagem. Rogério Sganzerla. Brazilian cinema. Film critic. Dialogism. Metalanguage. |
| Sumario: | The article examines the critical-creative thinking of the filmmaker Rogério Sganzerla (1946-2004), crossing his theoretical production with constructive procedures of The Red Light Bandit (1968), his debut in the direction of feature films. Our hypothesis is that the look at Sganzerla’s system of production reveals, beyond an application of its critical formulations in its filmic work, the way in which his thoughts are configured in order to consider the dialogue – both in critical texts and in the context of diegesis – as an implicit element in the organization of a theoretical-critical-creative system. |
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