Uma Noite Aconteceu (It Happened One Night, 1934).
As Duas Feras (Bringing Up Baby, 1938).
Serão mostrados hoje nas Sessões do Carvão, o primeiro às 18h30, o segundo às 21h30, na Casa das Caldeiras, Universidade de Coimbra.
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“Tresloucadas Comédias Clássicas”: (1)
O trailer do Queer Lisboa deste ano é genial na forma como utiliza lugares comuns da representação com uma ironia cortante. Parabéns, João.
Os Grandes Aldrabões (Duck Soup, 1933).
É um Presente (It‘s a Gift, 1934).
Serão mostrados hoje nas Sessões do Carvão, o primeiro às 18h30, o segundo às 21h30, na Casa das Caldeiras, Universidade de Coimbra.
O programa deste ciclo imperdível da Cinemateca Portuguesa pode ser consultado aqui. Não posso deixar de citar as evocativas palavras de Joao Mário Grilo que o acompanham:
A par com a fotografia, o cinema é, de todas as artes, aquela onde é mais empático o compromisso com a realidade do real. Ao longo da sua história, e de forma mais ou menos consciente, o cinema foi, por isso, traçando uma geografia de geografias, nesse processo ganhando, ao mesmo tempo, imaginário e território. Neste programa, serão olhadas algumas dessas geografias primordiais, paisagens incontornáveis desse “país-cinema”, que Serge Daney tão bem definiu, e onde se trata, afinal, da fusão sublime e quimérica entre o homem e a vertigem do mundo que, desde Lascaux, o assombra.
Colour moving pictures dating from 1902 have been found by the National Media Museum in Bradford, England. The previous earliest colour film dated from circa 1909. The discovered films were shot in Brighton by pioneer Edward Raymond Turner who patented his colour process on 22 March 1899. A few years before the pivotal Brighton School this city was already a place of formal experimentation and research. You can see the movies here.
Rabioso sol, rabioso cielo.
Recomeçam este mês as Sessões do Carvão coordenadas por mim no âmbito da programação cultural do Teatro Académico de Gil Vicente, na Sala do Carvão da Casa das Caldeiras.
19 Set. · “Tresloucadas Comédias Clássicas”:
18h30 Os Grandes Aldrabões (Duck Soup, 1933), real. Leo McCarey, com comentário de Sérgio Dias Branco (FLUC/IFL)
21h30 É um Presente (It’s a Gift, 1934), real. Norman Z. McLeod
26 Set. · “Tresloucadas Comédias Clássicas”:
18h30 Uma Noite Aconteceu (It Happened One Night, 1934), real. Frank Capra
21h30 As Duas Feras (Bringing Up Baby, 1938), real. Howard Hawks
3 Out. · “Tresloucadas Comédias Clássicas”:
18h30 As Três Noites de Eva (The Lady Eve, 1941), real. Preston Sturges
21h30 Casamento Escandaloso (The Philadelphia Story, 1940), real. George Cukor
10 Out. · “Tresloucadas Comédias Clássicas”:
18h30 Ladrão de Alcova (Trouble in Paradise, 1932), real. Ernst Lubitsch
21h30 Doidos Milionários (My Man Godfrey, 1936), real. Gregory La Cava
17 Out. · “Julián Hernández: Paisagens da Intimidade” (em colaboração com o Queer Lisboa):
18h30 Bramadero (2007) | Vago rumor de mares en zozobra (2008) | Ejercicios Danci Fílmicos (2010), real. Julián Hernández, com comentário de João Ferreira (FLUC/Queer Lisboa)
21h30 Mil nubes de paz cercan el cielo, amor, jamás acabarás de ser amor (2003), real. Julián Hernández
24 Out. · “Julián Hernández: Paisagens da Intimidade” (em colaboração com o Queer Lisboa):
18h30 El cielo dividido (2006), real. Julián Hernández
21h30 Rabioso sol, rabioso cielo (2009), real. Julián Hernández
31 Out. · “Portugal, Entre o Documento e a Ficcção”
18h30 Acto de Primavera (1962), real. Manoel de Oliveira
21h30 Belarmino (1964), real. Fernando Lopes | Jaime (1974), real. António Reis
Website
https://uottawa.scholarsportal.info/ojs/index.php/conversations
Managing Editors
Sérgio Dias Branco (University of Coimbra): sdiasbranco@fl.uc.pt
Amir Khan (University of Ottawa): akhan134@uottawa.ca
Advisory Board
Stanley Bates (Middlebury College)
Sarah Beckwith (Duke University)
Peter Dula (Eastern Mennonite University)
Richard Eldridge (Swarthmore College)
Adam Gonya (KU Leuven)
Larry Jackson (City University of New York)
Andrew Klevan (University of Oxford)
Stephen Mulhall (University of Oxford)
Sianne Ngai (Stanford University)
Andrew Norris (University of California, Santa Barbara)
Lawrence Rhu (University of South Carolina)
D. N. Rodowick (Harvard University)
Miguel Tamen (University of Lisbon)
About
It is easy to believe when reading Cavell that one has stumbled upon “privileged knowledge,” so that the intimate experience of going over some of Cavell’s close readings makes one feel “privileged” in a sense, to the point where it becomes inconceivable that others — from, say, other disciplines or specialties — could be reading Cavell correctly, unless they too are beginning from the same vantage point. Yet whether the discussion begins with Wittgenstein or Austin (ordinary language philosophy), Nietzsche or Kierkegaard (Continental philosophy), Emerson or Thoreau (American studies), Shakespeare or Beckett (literature and drama), Capra or Cukor (film and romance), Coleridge or Kant (poetry and ethics), or, even, music discomposed, Cavell’s insights have less to with specialized knowledge than with his unique ability to make his readers feel as though they — suddenly and somehow — have a real stake in what otherwise seems to be a privileged field. The understanding Cavell’s philosophical work and readings afford us is the humane sort, unencumbered by (a lack of) specialization.
Conversations is a journal that seeks to promote precisely this sort of communal, human conversation. For dialogue between seemingly disparate realms of thought to thrive, it is imperative that contributors not simply take up Cavell’s work solely within a given specialization, but that efforts are made to extend Cavell’s thinking to other realms and disciplines as well, either familiar or unfamiliar to Cavell’s thought. While interdisciplinary conversation occurs quite frequently between film and philosophy, literature and film, or literature and philosophy, Conversations puts no restrictions on the nature of the dialogues, or number of disciplines, at the outset.
The end result, it is hoped, will be a dissolution of disciplinary boundaries at best, or, at least, an assurance that conversation can occur between otherwise perfectly delimited discourse communities. Hence it is hoped that humanistic lessons and insights supposedly unique to certain specialized investigation are made salient and shareable with a broader audience — in true Cavellian spirit.
CFP 1
Marc Shell says of Cavell’s autobiography that it will be read for “decades, even centuries” and, more importantly, that it will “contribute to how we understand the lives of philosophers.” Though we are neither decades nor centuries away from the publication of Little Did I Know (Stanford University Press, 2010), the editors of Conversations: The Journal of Cavellian Studies invite essays that tackle some of the implications of these formidable “excerpts from memory”, particularly now that some of the dust accompanying its initial reception has settled.
We invite papers for the inaugural issue of Conversations that discuss and engage with Cavell’s autobiographic writings, not only Little Did I Know, but also his earlier autobiographical exercises A Pitch of Philosophy (Harvard University Press, 1996) and references to his personal history from other texts. Close readings that negotiate both the professional and personal ramifications of the many encounters Cavell so compellingly recounts are welcome — see, for example, James Conant’s recent essay “The Triumph of the Gift over the Curse in Stanley Cavell’s Little Did I Know” in Modern Language Notes. Articles may also address broader issues raised by the autobiographical elements in Cavell’s publications for the field of philosophy, and its approaches and traditions, through a less narrow engagement with his texts and philosophical contribution.
We accept submissions from all theoretical perspectives and disciplines and encourage attempts to assimilate seemingly disparate (disciplinary) areas of Cavell’s thinking (or recounting). Possible topics include:
• the use of “I” in philosophical writing (for rhetorical affect, or detraction, or both);
• philosophical and historiographical writing;
• memory and affect;
• structural analysis of autobiographical writing, including discussion of rhetorical devices;
• the ethics of autobiography;
• overlap/divergence between earlier and later writings;
• autobiographic elements of Cavell’s film criticism.
Papers should be no more than 6000 words, including footnotes, and must follow the notes and bibliography citation system described in The Chicago Manual of Style. We also welcome shorter, more intimate pieces addressing specific questions (800-1200 words). Proposals of around 500 words (for long articles) and 250 words (for short articles) should be sent by 1 December 2012 to both managing editors, but complete articles will be considered as well.
É hoje lançado oficialmente em Lisboa o primeiro número da Metropolis. Esta edição, que inclui uma crítica minha ao filme Kiseki (O Meu Maior Desejo, 2011) dirigido por Hirokazu Koreeda, pode ser lida aqui.
A Brighter Summer Day.
Depois do ciclo dedicado a Hsiao-hsien Hou em 2007, Augusto M. Seabra volta a comissariar um ciclo sobre um fundamental cineasta de Taiwan na Culturgest. Entre 13 a 16 de Dezembro deste ano, serão apresentados cinco filmes de Edward Yang, incluíndo a versão integral de A Brighter Summer Day (Gu ling jie shao nian sha ren shi jian, 1991), obra que leccionei numa das cadeiras de História e Estética do Cinema na Universidade de Coimbra no ano passado. As informações detalhadas sobre o programa podem ser encontradas aqui.
O livro das IV Jornadas Cinema em Português, organizadas na Universidade da Beira Interior em 2011, está a partir de agora disponível on-line aqui.
