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- O repeat viewing no contexto do metacinemaPublication . Chinita, FátimaPartindo da explicação daquilo que neste ensaio se entende por “metacinema” e a sua relevância como discurso autoral sobre a sétima arte, aborda-se o fenómeno do visionamento múltiplo de uma mesma obra (aspeto conhecido em inglês como “repeat viewing”). Este fenómeno permite um contato privilegiado entre o meta espetador, propenso a aderir em maior grau aos metafilmes, e o meta realizador, inclinado a construir uma carreira em torno da execução dos mesmos. Em causa está o visionamento e o fabrico de obras, direta ou indiretamente, especializadas no universo cinematográfico. A mediação do dispositivo cinematográfico na projeção em sala ou a apropriação de novas e cada vez mais versáteis tecnologias de captação e reprodução audiovisual permite transformar o vidente cinéfilo num utilizador compulsivo, conferindo ao cinema atualmente uma dimensão háptica que ele não detinha da mesma forma anteriormente. O espetador apropria-se de obras criadas por outrem, atribuindo-lhes uma nova forma e um novo sentido, mas dentro de um contexto cinéfilo. Inversamente, o criador é voluntariamente apropriado pela indústria, permitindo o consumo de si mesmo nas edições em videograma e trabalhando internamente as obras e os seus mecanismos formais e narrativos para geraram maior e mais multiplicadas formas de consumo junto dos espetadores. Assim se fomenta uma jornada que não é do herói, mas sim do vidente. Para concluir, defende-se que a maior acessibilidade fílmica permitida pela disseminação de novas janelas de consumo cinematográfico incrementa o repeat viewing e uma apropriação cada vez maior das obras, mas em contrapartida, pode desencadear a nulidade do discurso metacinematográfico e o esboroar do metacinema como tal.
- Sergei Eisenstein as seen by Peter Greenaway: a dialectic representation of an (anti-)great film directorPublication . Chinita, FátimaABSTRACT - Peter Greenaway’s recent biopic of the great Russian film director and master of montage Sergei M. Eisenstein, Eisenstein in Guanajuato, forms an important addition to filmic life writing. Greenaway ‘writes’ Eisenstein on screen through the film director’s actions as documented across an array of sources—including Eisenstein’s own autobiography—but he also reveals Eisenstein’s inner thoughts and feelings, using Eisenstein’s own voice (that is, his theories and film practice). Rather than portraying the Russian director at work, Greenaway opted to present Eisenstein’s directorial film philosophy, attempting to capture the essence of being ‘Eisenstein’. The film focuses on fourteen crucial months in the director’s life: the period he spent in Mexico, from where he was banished without completing what could have been his directorial masterpiece, the film Que Viva Mexico! Greenaway is laudatory of Eisenstein’s importance for the history of cinema, whilst depicting him in carnivalesque and corporeally grotesque terms. Thus, Greenaway simultaneously portrays Eisenstein as a great man and an anti-hero, in truly dialectical form. These apparently contradictory images of the cinematic master, functioning as thesis and antithesis, build up into something larger: a synthetic Eisenstein. The result is a larger-than-life, entirely ecstatic Eisenstein and an ode to his synaesthetic and dialectical approach to life and cinema. In doing this, however, Greenaway doubles his subject’s ‘voice’ with his own and also ‘writes’ himself through Sergei Eisenstein’s theory and practice.
- Twin Peaks como alegoria daimónica cinematográficaPublication . Chinita, FátimaFor a long time the allegorical activity was considered dogmatic and equated with artistic fossilization, archaic religious propensity and lack of creativity. However, Walter Benjamin (1928) and Paul De Man (1969), among other illustrious thinkers, came to its defense, exalting, instead, its cryptic, hybrid and abstract nature, which, incidentally, are the main characteristics of modern art. “Twin Peaks – Fire Walk with Me” (David Lynch, 1992) is a wonderful object of analysis, despite being one of the most misunderstood films in the history of cinema. The fact that its narrative is a prequel to the cult television series “Twin Peaks” and incorporates many of the characters of that show, explicitly denigrating the moral image of the protagonist, Laura Palmer, brought about an intense rejection by the fans of the series, as well as the indifference of the cinephilic community in general. However, one must go deeper, in order to understand Lynch’s brave accomplishment and its artfulness. Indeed, the opus is a powerful cinematic allegory because it contains a double layer of metaphorical meaning, one of them being explicitly metacinematic. Thus, besides assuming itself as a filmic daimonic allegory, occurring in a spiritual universe of Good versus Evil, the film is also an authorial discourse on cinema itself. More specifically, it is an allegory of spectatorship, according to Robert Stam’s definition, where the existence and crossing over to “another side” duplicates the architecture of movie theatres and the psychic processes involved in film viewing.