32 Curtas Metragens sobre Glenn Gould (Thirty Two Short Films about Glenn Gould, 1993).
Fantasia (1940).
Estes filmes serão mostrados amanhã nas Sessões do Carvão, o primeiro às 18h30, o segundo às 21h30.
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“O Cinema Olha a Música”: (1) · (2) · (3) · (4) · (5) · (6) · (7) · (8) · (9) · (8) · (10)
Foi agora publicado o livro que reúne os contributos de académicos e artistas para o cruzamento entre a filosofia e as artes, a partir de um evento que decorreu em Abril deste ano na Universidade do Minho. Esta publicação, organizada por Steven S. Gouveia e com um prefácio de Thomas E. Wartenberg, inclui um pequeno ensaio meu sobre o filósofo Walter Benjamin e a arte fotográfica. Pode ser adquirido aqui.
Eu, Daniel Blake.
O jornal Avante! publica hoje um artigo que escrevi sobre o filme Eu, Daniel Blake (I, Daniel Blake, 2016), realizado por Ken Loach. A versão electrónica deste texto, a que dei o título “A Voz de Dan”, está disponível aqui.
Todas as Manhãs do Mundo (Tous les matins du monde, 1991).
Crónica de Ana Madalena Bach (Chronik der Anna Magdalena Bach, 1968).
Estes filmes serão mostrados hoje nas Sessões do Carvão, o primeiro às 18h30, o segundo às 21h30.
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“O Cinema Olha a Música”: (1) · (2) · (3) · (4) · (5) · (6) · (7) · (8) · (9)
Y... tenemos sabor (1967).
Buena Vista Social Club (1999).
Estes filmes serão mostrados hoje nas Sessões do Carvão, o primeiro às 18h30, o segundo às 21h30. O primeiro filme substitui o inicialmente programado El Benny (2006), do qual não foi possível assegurar uma cópia.
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“O Cinema Olha a Música”: (1) · (2) · (3) · (4) · (5) · (6) · (7) · (8)
Foreign Parts.
This year’s Forum of the Real, organised by the film festival Porto/Post/Doc in partnership with CITAR (Research Center for Science and Technology of the Arts - Catholic University of Portugal), discusses the concept of “sensory cinema” in three panels. I was invited to participate in the second panel (“About Sensory Cinema”), along with film scholars Cornelia Lund and Thomas Weber (University of Hamburg) and Iván Villarmea Alvarez (University of Santiago de Compostela). This session takes place today at 2pm. It will be chaired by film programmer Justine Duay.
The talks are to be informal and not purely academic, but I have sketched a direction for my talk and even gave a title to the sketch: “Observing the Unobserved: Thinking Through Sensory Cinema with Walter Benjamin”. Here it is:For those who have never watched one of its films, the wave of sensory cinema may sound like a documentary film practice that reduces spectatorship to sense-experience. This, of course, implies a kind of ahistorical approach and alienating effect, which contradicts the emancipatory possibilities opened by new technologies. Walter Benjamin’s perceptive reflections on technology, aesthetics, and art allow us to make sense of sensory cinema. On the one hand, he argued that the development of technology in the capitalist mode of production forces a utilisation that alienates humanity from itself, changing its sense perception and showing its own destruction as a spectacle. On the other hand, technology may be used as an aid that grounds human beings in the world, making them conscious of their natural, historical, and social facets. The camera is particularly apt to reveal elements of reality that may register in our senses, but that are not consciously processed. This is the reason why, according to Benjamin, film gives us access to an optical unconscious. The Sensory Ethnography Lab at Harvard University uses film technology in such a way. Its ethnographical dimension puts forward an understanding of art as a way of knowing peoples and cultures, expanding the aesthetics of film and problematising the politics of portrayal. These ideas will be developed through the analysis of Foreign Parts (2010), directed by Verena Paravel and J.P. Sniadecki. The film focuses on the community of outcasts who live in Willets Point and survive by working in auto repair shops and junk-yards. This industrial neighborhood is about to be demolished to make room for a huge urban redevelopment project by the large company Bloomberg. The hallmark of this work is how it details the lives of these people and their visitors by amplifying sensory elements though the use of digital technologies. Since different methods of observation are a key part of ethnographic research, we may say that Foreign Parts observes the socially unobserved, giving it aesthetic qualities that amount to an incisive portrait.
Morte Limpa (Good Kill, 2014).
O À Pala de Walsh convidou-me para participar na rubrica “Steal a Still” que, segundo a publicação, “celebra a potência estética do still e a curiosidade voyeur pelo que de mais recente ‘o igual cinéfilo’ tem deitado olho”. Escolhi este fotograma (clicar para ampliar) e o resultado por ser visto aqui.
