Image formation in the cinematographic language of Julio Bressane
Name: LAYS GAUDIO CARNEIRO
Publication date: 27/05/2020
Advisor:
Name |
Role |
|---|---|
| GASPAR LEAL PAZ | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| GASPAR LEAL PAZ | Advisor * |
| DANIEL DE SOUZA NEVES HORA | Internal Examiner * |
Summary: Faced with the cinema thought of Júlio Bressane, we intend to venture into understanding his cinematographic research. Opting for a more general perception of its complex and suggestive aesthetic, full of deconstructions and discoveries, we will follow some hints evoked by Gerd Bornheim in his essay on Miramar, in which the philosopher describes Bressane's film, underlining nodal dimensions of the imagetic construction of the work. Thus, the choice of the theme is based on the relevance of Júlio Bressane's cinematographic aesthetics for the studies on the image in contemporary arts. In this sense, Bressane strives to build proposals that modify the viewer's look, confronting him, taking him out of his usual comfort and encouraging participation in the image's configuration or formation.
Another aspect considered in this research on Bressanian aesthetics was the influence of Haroldo de Campos in one of the important dimensions of Bressane's language: the translation (or transcreation). From this theme, one can understand that the recurring use of citations in the work of the filmmaker from Rio de Janeiro is a kind of work of transposition and intercurrent dialogue amongst the artistic languages. In this way, Júlio Bressane understands the concept of transcreation as a recreation, emphasizing the need for a critical look that permeates situations and experiences in order to recreate them in the cinema screen. It is, therefore, a double and complementary challenge that involves the creative act and the critical intention. Intention and action that invite the reader to imagine, in a kind of "concentration of times", the mnemic traces and citations present in the images. Pictorial, literary, sound musical, sound visual citations compose Bressanian images. We are interested, therefore, in understanding this aesthetics, following the traces of montages and the use of elements that make his work so unique.
Keywords: Translation/transcreation, angularity, cinematographic aesthetics
