n. 48, jan./abr. Dossiê Teoria de Cineastas

Data de publicação: 03/12/2019

 

Published: 2020-01-01

Presentation

  • Apresentação

    Comissão Editorial Intexto
    1-5
    DOI: https://doi.org/10.19132/1807-8583202048.1-5

Dossiê Teoria dos cineastas

  • Recomposing media: Harun Farocki's visual thinking

    Luís Flores, César Geraldo Guimarães
    22-43
    DOI: https://doi.org/10.19132/1807-8583202048.22-43

  • Refractions of the movie film concept in Rogério Sganzerla’s work

    Irene de Araújo Machado, Daniel Felipe Espinola Lima Fonseca
    44-64
    DOI: https://doi.org/10.19132/1807-8583202048.44-64

  • From reality effect to a politics of idleness in Abbas Kiarostami

    Demétrio Rocha Pereira, Felipe Diniz, Lennon Macedo
    65-83
    DOI: https://doi.org/10.19132/1807-8583202048.65-83

  • From dialogism to the senses of double authorship in the making of documentaries

    Patrícia de Oliveira Iuva
    84-104
    DOI: https://doi.org/10.19132/1807-8583202048.84-104

  • The filmic gesture as a collective expression of the art of cinema

    Andréa Carla Scansani
    105-120
    DOI: https://doi.org/10.19132/1807-8583202048.105-120

  • Autorship concept as intermediate for notions about art and cinema industry

    Gustavo Henrique Ferreira Bittencourt, Josimey Costa da Silva
    121-139
    DOI: https://doi.org/10.19132/1807-8583202048.121-139

  • Does the Industry produce theory? John T. Caldwell’s contributions to film and television studies

    Ludmila Moreira Macedo de Carvalho, Elva Fabiane Matos do Valle
    140-156
    DOI: https://doi.org/10.19132/1807-8583202048.140-156

  • Tikmũ’ũn’s caterpillar-cinema: practice-theory of shamanic images

    André Brasil
    157-175
    DOI: https://doi.org/10.19132/1807-8583202048.157-175

  • Stan Brakhage, Maya Deren and Jonas Mekas: towards a poetics of the amateur

    Rafael Valles
    176-193
    DOI: https://doi.org/10.19132/1807-8583202048.176-193

  • David Neves: Life projects and autonomy of the critics-filmmaker

    Pedro Plaza Pinto
    194-211
    DOI: https://doi.org/10.19132/1807-8583202048.194-211

  • Karim Aïnouz's creative process: the movement of the image in creation

    Aline Vaz, Tarcis Prado Júnior
    212-228
    DOI: https://doi.org/10.19132/1807-8583202048.212-228

  • Antiphilosophy: Jean Epstein and speculative realism

    Julio Bezerra
    229-245
    DOI: https://doi.org/10.19132/1807-8583202048.229-245

  • The Romantic Cinema of Werner Herzog: approaches between German Romanticism and the Concept of Ecstatic Truth

    Jéssica Pereira Frazão, Regiane Regina Ribeiro
    246-263
    DOI: https://doi.org/10.19132/1807-8583202048.246-263

  • Myriad montage and dance: the embodiment of the cinematographic thinking in Evaldo Mocarzel

    Cristiane do Rocio Wosniak
    264-283
    DOI: https://doi.org/10.19132/1807-8583202048.264-283

  • The self-referential cinema of Chantal Akerman as a theoretical act of displacement

    Natália Lago Adams, Sandra Fischer
    284-303
    DOI: https://doi.org/10.19132/1807-8583202048.284-303

  • Poetry and violence in the birth of the silent language: the case of Chaplin

    Ciro Inácio Marcondes
    304-324
    DOI: https://doi.org/10.19132/1807-8583202048.304-324

  • The Arthur Omar films as “ways of thinking” the violence of Brazil in 1980s

    Rosane Kaminski
    325-351
    DOI: https://doi.org/10.19132/1807-8583202048.325-351

Interview

  • Making film theory from filmakers - interview with Manuela Penafria

    Bruno Leites, Eduardo Baggio, Marcelo Carvalho
    6-21
    DOI: https://doi.org/10.19132/1807-8583202048.6-21

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