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- Artistic symbiosis: Orson Welles’s Othello (1951) as cinematic operaPublication . Chinita, FátimaEarly film theorist Ricciotto Canudo equated cinema with music because of the Seventh Art’s inherent plasticity; in the 21st century, plasticity extends to the soundtrack. In this article, I explore the fusion of cinema with the musical genre of opera. By considering that film is a performative medium, beyond the actors’ agency, I confirm music’s importance in it as part of the structure and style of opera. Unlike Franco Zeffirelli’s adaptation of Verdi’s opera Otello, Orson Welles’s adaptation of William Shakespeare’s play conforms to Jacques Aumont’s concept of “operatic film” in that it engenders a coexistence of the verbal and the non-verbal, balancing drama and music with a performative intention. However, this film is so musicalized and operatically rendered, especially through its soundtrack, that it exceeds Aumont’s intention and becomes what I call a “cinematic opera”: a film that is operatic in its artificial and ritualistic nature as well as in its well-woven soundtrack of music, sound effects and voice working together in a common musicalized pattern.
- Fascinating museological audiences, or the cinematic appealPublication . Chinita, FátimaThis review of Elisa Mandelli’s book The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions (2019) explains how, according to the author, several viewing dispositifs, understood as a rather flexible assemblage of elements, are increasingly being used in museums to combine education with entertainment. Thus, museums are becoming “cinematic spaces” with an ideological perspective. Mandelli’s approach to the projection technologies of moving images in museological venues is not only chronological but also phenomenological. A three-way interest is recognizable in the alignment of chapters, encompassing the educational value of the dispositifs, their artistic nature, and the experiential factor. As the book provides an interesting overview of two fields that usually are not taken together and contains an assortment of case studies described in detail, it should make a good addition to the fields of Museum and Film Studies.
- The interweaving of theater and filmPublication . Chinita, FátimaBook Review of "Theatre through the Camera Eye: The Poetics of an Intermedial Encounter (Laura Sava)", Edinburgh University Press, 2019, ISBN 978-1474484282 hardback.
- To be or not to be… seen: o regime do (in) visível em Hamlet (2000)Publication . Chinita, FátimaO presente ensaio aborda o filme Hamlet (2000, Michael Almereyda, EUA) como uma rescrita audiovisual da peça homónima de William Shakespeare. Neste caso, o campo semântico visão/olhar encontra a sua natural expressão num discurso metacinematográfico, envolvendo uma relação entre as instâncias autoral e espetatorial, mediadas pelo filme. Partindo de teorias fenomenológicas, psicossemióticas, psicanalíticas e narratológicas – congregadas num todo versando a natureza ótica e escópica do cinema - o artigo analisa a dimensão espetatorial contida na peça de Shakespeare (e mais ainda no filme de Almereyda), a qual funciona sempre em prol da manutenção do espetáculo, o que implica ser-se visto a ver e não apenas olhar e/ou ser-se olhado.
- Specular affinities: from (self-)reflexivity to intermediality via "mise en abyme"Publication . Chinita, FátimaThis essay is a theoretical account of the convergence between cinematic self-reflexivity and intermediality, both being considered for these purposes as self-constructed and self-revealing. Lucien Dallenbach's conception of mise en abyme - a combination of the enunciative surplus at the level of enunciation (whereby intradiegetic creators and spectators are revealed at their activities) with a fictional mirroring at the level of the story itself - is deemed a frame-breaking device that also enables the appropriation of other art forms by cinema. Adapting Gilles Deleuze's theory of the crystal-image (1985) to this intermedial context, I argue in favour of an "inter-media image", consisting of a perpetual flux of qualified media in which the mise en abyme generates a true constellation of ever-new inter-art combinations.
- O primado da ambivalência corpórea: Eraserhead como dupla alegoriaPublication . Chinita, FátimaConsidering the film Eraserhead (David Lynch, 1977) an ode to the body in both its outward and inward manifestations, this article compares the body as it is represented in the film, through the physical and psychical depiction of characters, with the cinematic medium and its conventions. The article presents Eraserhead as having three levels of meaning, all of them connected to the corporeal: one literal and two figurative. These latter two are clearly allegorical and, ultimately, one of them is literal and the other two are figural. In the most complex of them all, which presents the film in general as an artistic body, Eraserhead can be understood as an allegory of spectatorship.