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u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Mudanças no cenário político e social brasileiro, que encontraram respaldo em manifestações populares de direita afloradas em junho de 2013, marcaram o regresso ao conservadorismo no Brasil em alguns âmbitos, principalmente com relação às... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36468323" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Mudanças no cenário político e social brasileiro, que encontraram respaldo em manifestações populares de direita afloradas em junho de 2013, marcaram o regresso ao conservadorismo no Brasil em alguns âmbitos, principalmente com relação às políticas públicas que tratavam de diversidades, sexualidade e identidade de gênero. Neste contexto aconteceram duas Bienais de São Paulo, em 2014 e 2016, que tinham como objetivo contar histórias silenciadas e apagadas, entre elas, abordagens sobre gêneros e sexualidades não normativas. A 31a e a 32a Bienais de São Paulo foram as primeiras na história da Bienal a tratarem explicitamente sobre tais assuntos em seus discursos curatoriais. Com isso em vista, esta pesquisa acessa o tema da arte queer, enquadrando a 31ª e a 32ª Bienais de São Paulo como pontos cruciais na escrita de uma história da arte sobre gênero e sexualidade no Brasil, bem como na história das Bienais de São Paulo.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36468323" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f6089452b24a4f67a886cf9e66e5d635" rel="nofollow" data-download="{"attachment_id":56385727,"asset_id":36468323,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56385727/download_file?st=MTczMzAyMDYyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8132007" href="https://unifesp.academia.edu/ClaraNobredeCamargo">Clara Nobre de Camargo</a><script data-card-contents-for-user="8132007" type="text/json">{"id":8132007,"first_name":"Clara","last_name":"Nobre de Camargo","domain_name":"unifesp","page_name":"ClaraNobredeCamargo","display_name":"Clara Nobre de Camargo","profile_url":"https://unifesp.academia.edu/ClaraNobredeCamargo","photo":"https://0.academia-photos.com/8132007/2812345/48614746/s65_clara.nobre_de_camargo.jpg"}</script></span></span></li><li class="js-paper-rank-work_36468323 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36468323"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36468323, container: ".js-paper-rank-work_36468323", }); 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u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Fernando Rocha é paulistano, graduado em Letras, professor na rede municipal de ensino de São Paulo, fotógrafo, autor dos livros Sujeito sem verbo, Os Laços da fita, Afetos e Pouca Pele, este último publicado recentemente. Possui textos... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_100069021" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Fernando Rocha é paulistano, graduado em Letras, professor na rede municipal de ensino de São Paulo, fotógrafo, autor dos livros Sujeito sem verbo, Os Laços da fita, Afetos e Pouca Pele, este último publicado recentemente. Possui textos em diversos sites, como: Mallarmagens, Amaité Poesias & Cia, Diversos e Afins, Revista Gueto, Incomunidade, Letras Inacabadas e Letras et Cetera.Nesta entrevista, gentilmente concedida para a Opiniães via correspondência eletrônica no mês de maio, Fernando Rocha expõe suas ideias acerca da intrincada relação entre a literatura e os afetos, desde o processo criativo até a recepção da obra pelos leitores.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/100069021" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2494c296d9c613c7f118c5e75068ee61" rel="nofollow" data-download="{"attachment_id":100991858,"asset_id":100069021,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/100991858/download_file?st=MTczMzAyMDYyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2952198" href="https://unifesp.academia.edu/rafaelafernandes">Rafaela Fernandes</a><script data-card-contents-for-user="2952198" type="text/json">{"id":2952198,"first_name":"Rafaela","last_name":"Fernandes","domain_name":"unifesp","page_name":"rafaelafernandes","display_name":"Rafaela Fernandes","profile_url":"https://unifesp.academia.edu/rafaelafernandes","photo":"https://0.academia-photos.com/2952198/22742307/21910153/s65_rafaela.fernandes.jpg"}</script></span></span></li><li class="js-paper-rank-work_100069021 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="100069021"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 100069021, container: ".js-paper-rank-work_100069021", }); 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_106609199" data-work_id="106609199" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/106609199/Christian_Boltanski_em_busca_da_pequena_mem%C3%B3ria">Christian Boltanski: em busca da pequena memória</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Christian Boltanski é o artista da pequena memória, mas, sobretudo, da memória que irrompe consciente de suas aporias e possíveis fracassos. Com uma trajetória artística extensa, tendo transitado entre as mais diferentes linguagens e... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_106609199" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Christian Boltanski é o artista da pequena memória, mas, sobretudo, da memória que <br />irrompe consciente de suas aporias e possíveis fracassos. Com uma trajetória artística <br />extensa, tendo transitado entre as mais diferentes linguagens e suportes, em suas obras a memória assume o estatuto de uma força imanente, assim, objetos, listas de nomes e <br />fotografias funcionam como dispositivos que evocam a dimensão imaterial e invisível da <br />rememoração, pois as histórias e os testemunhos que sobreviverão são, para ele, o mais <br />importante. Nesta comunicação, nos propomos a analisar obras selecionadas do artista que impõem uma série de interrogações que tocam no cerne do debate envolvendo a dita “nova arte da memória”, ou, mais precisamente, “a arte da pequena memória”. Para tanto, dividiremos a exposição em três partes: infância; anonimato; história, ficção e regime estético da memória.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/106609199" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="672dacf05784071f219bd733fd42d13b" rel="nofollow" data-download="{"attachment_id":105725411,"asset_id":106609199,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/105725411/download_file?st=MTczMzAyMDYyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2952198" href="https://unifesp.academia.edu/rafaelafernandes">Rafaela Fernandes</a><script data-card-contents-for-user="2952198" type="text/json">{"id":2952198,"first_name":"Rafaela","last_name":"Fernandes","domain_name":"unifesp","page_name":"rafaelafernandes","display_name":"Rafaela Fernandes","profile_url":"https://unifesp.academia.edu/rafaelafernandes","photo":"https://0.academia-photos.com/2952198/22742307/21910153/s65_rafaela.fernandes.jpg"}</script></span></span></li><li class="js-paper-rank-work_106609199 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="106609199"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 106609199, container: ".js-paper-rank-work_106609199", }); 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$(".js-view-count[data-work-id=106609199]").text(description); $(".js-view-count-work_106609199").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_106609199").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="106609199"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="186896" href="https://www.academia.edu/Documents/in/Christian_Boltanski">Christian Boltanski</a>, <script data-card-contents-for-ri="186896" type="text/json">{"id":186896,"name":"Christian Boltanski","url":"https://www.academia.edu/Documents/in/Christian_Boltanski","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="240140" href="https://www.academia.edu/Documents/in/Fic%C3%A7%C3%A3o">Ficção</a>, <script data-card-contents-for-ri="240140" type="text/json">{"id":240140,"name":"Ficção","url":"https://www.academia.edu/Documents/in/Fic%C3%A7%C3%A3o","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1156356" href="https://www.academia.edu/Documents/in/Anonimato">Anonimato</a>, <script data-card-contents-for-ri="1156356" type="text/json">{"id":1156356,"name":"Anonimato","url":"https://www.academia.edu/Documents/in/Anonimato","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1162910" href="https://www.academia.edu/Documents/in/Inf%C3%A2ncia">Infância</a><script data-card-contents-for-ri="1162910" type="text/json">{"id":1162910,"name":"Infância","url":"https://www.academia.edu/Documents/in/Inf%C3%A2ncia","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=106609199]'), work: {"id":106609199,"title":"Christian Boltanski: em busca da pequena memória","created_at":"2023-09-14T06:50:03.269-07:00","owner_id":2952198,"url":"https://www.academia.edu/106609199/Christian_Boltanski_em_busca_da_pequena_mem%C3%B3ria","slug":"Christian_Boltanski_em_busca_da_pequena_memória","dom_id":"work_106609199","summary":"Christian Boltanski é o artista da pequena memória, mas, sobretudo, da memória que\r\nirrompe consciente de suas aporias e possíveis fracassos. Com uma trajetória artística\r\nextensa, tendo transitado entre as mais diferentes linguagens e suportes, em suas obras a memória assume o estatuto de uma força imanente, assim, objetos, listas de nomes e\r\nfotografias funcionam como dispositivos que evocam a dimensão imaterial e invisível da\r\nrememoração, pois as histórias e os testemunhos que sobreviverão são, para ele, o mais\r\nimportante. Nesta comunicação, nos propomos a analisar obras selecionadas do artista que impõem uma série de interrogações que tocam no cerne do debate envolvendo a dita “nova arte da memória”, ou, mais precisamente, “a arte da pequena memória”. Para tanto, dividiremos a exposição em três partes: infância; anonimato; história, ficção e regime estético da memória.","publication":"Anais do V Seminário de Estética e Crítica de Arte: Sentidos na Asfixia","publication_with_fallback":"Anais do V Seminário de Estética e Crítica de Arte: Sentidos na Asfixia","downloadable_attachments":[{"id":105725411,"asset_id":106609199,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/105725411/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/105725411/CHRISTIAN_BOLTANSKI_EM_BUSCA_DA_PEQUENA_MEMORIA-libre.pdf?1694699724=\u0026response-content-disposition=attachment%3B+filename%3DChristian_Boltanski_em_busca_da_pequena.pdf\u0026Expires=1732256194\u0026Signature=CXOS3Fzyxl5l3RAnYTZQcbN18ueqWrjzgiba-wTsJi2s9GC4GKk0z07r84QW5LLOa1ce0ZIQA2TCLXuXUwYwqFAvfWJbdx1lnDjLIE4WZ9Ag~rbfxduBzFPnmJRGAs2b1OwQXRu2RGm3FEXoXyvNtnda0zSDKjuG7IsYI-iJ-D3gC3mX5cjvJkqYXT7PVKDYyC22HumWFDh36QD5x4qmqqqyNlkfpgnZzOObeyz7OAjG87xFlfEIYeJIveQZ6~eYPCPw~y42usO7MmAyxu4-54rbz9C2j1QAsYWhBWrLPgWf9ff8s2yU1Er5dC4mNKLJx6F3yiGk0O0B~kryYWax9A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/105725411/download_file?st=MTczMzAyMDYyOSw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/105725411/mini_magick20230914-1-hq19hr.png?1694699396"}],"downloadable_attachments_with_full_thumbnails":[{"id":105725411,"asset_id":106609199,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/105725411/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/105725411/CHRISTIAN_BOLTANSKI_EM_BUSCA_DA_PEQUENA_MEMORIA-libre.pdf?1694699724=\u0026response-content-disposition=attachment%3B+filename%3DChristian_Boltanski_em_busca_da_pequena.pdf\u0026Expires=1732256195\u0026Signature=WgKUQBETgCpOduB0e9zv3rBmCkh75pjJrsvK1rNX6Xk3d~Cgh1CTQJHIL7dGtsNCPaplssYBZoNce2g2f9ugugkWA5SkKM~Akh083SulI5AhHFu~9AmCCFwghXRvUk3QOqAQblWeNbsB47mbvQYkZFJ7KzfL52soynR5eZVnWM2FMPDhJLSuBIr8Uy5v2pwYrSbCVkC67S9jWL9KXr3AX6Z6xQUL5eBMZ5fdNccy-aGHb-QRLlUDkBsuS1wKbrQEfozMK8v2REVHd4lH8r4Y1jZsJAMjqYhzfFbF4SLGK7IklLWusp-X3dZuPfMzK64d5~j8mWMzx-QCFJxuB5Wi3g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/105725411/download_file?st=MTczMzAyMDYyOSw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/105725411/mini_magick20230914-1-hq19hr.png?1694699396"}],"has_pdf":true,"has_fulltext":true,"page_count":13,"ordered_authors":[{"id":2952198,"first_name":"Rafaela","last_name":"Fernandes","domain_name":"unifesp","page_name":"rafaelafernandes","display_name":"Rafaela Fernandes","profile_url":"https://unifesp.academia.edu/rafaelafernandes","photo":"https://0.academia-photos.com/2952198/22742307/21910153/s65_rafaela.fernandes.jpg"}],"research_interests":[{"id":186896,"name":"Christian Boltanski","url":"https://www.academia.edu/Documents/in/Christian_Boltanski","nofollow":false},{"id":240140,"name":"Ficção","url":"https://www.academia.edu/Documents/in/Fic%C3%A7%C3%A3o","nofollow":false},{"id":1156356,"name":"Anonimato","url":"https://www.academia.edu/Documents/in/Anonimato","nofollow":false},{"id":1162910,"name":"Infância","url":"https://www.academia.edu/Documents/in/Inf%C3%A2ncia","nofollow":false},{"id":4316024,"name":"Pequena memória","url":"https://www.academia.edu/Documents/in/Pequena_mem%C3%B3ria"}],"publication_year":2023,"publication_year_with_fallback":2023,"paper_rank":null,"all_time_views":18,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_110989221" data-work_id="110989221" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/110989221/Theodor_W_Adorno_e_a_elabora%C3%A7%C3%A3o_do_passado_na_sociedade_administrada">Theodor W. Adorno e a elaboração do passado na sociedade administrada</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"What it means to elaborate the past" poses a question that, as the author himself warns, requires clarification. However, beyond that, this issue demands a subsequent analysis of the social phenomena that followed it, as well as its... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_110989221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"What it means to elaborate the past" poses a question that, as the author himself warns, requires clarification. However, beyond that, this issue demands a subsequent analysis of the social phenomena that followed it, as well as its placement within a broader historical and intellectual context, including within Theodor W. Adorno's work. Without intending to exhaust the subject or present a conciliatory synthesis of the ideas present in Adorno's writings, since many of them vary in the development of his work, the article considers art and literature as privileged means of elaborating the past, capable of highlighting the process of dehumanization of the individual in the administered society. The Adornian requirement not to forget the catastrophes committed the 20th century, finally, takes on different dimensions in contemporary times, added to issues such as the saturation of traumatic memories.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/110989221" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f4070ef3fc04dbd9ee1d2317f14bad4b" rel="nofollow" data-download="{"attachment_id":108634702,"asset_id":110989221,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/108634702/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2952198" href="https://unifesp.academia.edu/rafaelafernandes">Rafaela Fernandes</a><script data-card-contents-for-user="2952198" type="text/json">{"id":2952198,"first_name":"Rafaela","last_name":"Fernandes","domain_name":"unifesp","page_name":"rafaelafernandes","display_name":"Rafaela Fernandes","profile_url":"https://unifesp.academia.edu/rafaelafernandes","photo":"https://0.academia-photos.com/2952198/22742307/21910153/s65_rafaela.fernandes.jpg"}</script></span></span></li><li class="js-paper-rank-work_110989221 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="110989221"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 110989221, container: ".js-paper-rank-work_110989221", }); 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$(".js-view-count[data-work-id=110989221]").text(description); $(".js-view-count-work_110989221").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_110989221").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="110989221"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="112729" href="https://www.academia.edu/Documents/in/Teor%C3%ADa_Cr%C3%ADtica">Teoría Crítica</a>, <script data-card-contents-for-ri="112729" type="text/json">{"id":112729,"name":"Teoría Crítica","url":"https://www.academia.edu/Documents/in/Teor%C3%ADa_Cr%C3%ADtica","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1198428" href="https://www.academia.edu/Documents/in/Filosofia">Filosofia</a>, <script data-card-contents-for-ri="1198428" type="text/json">{"id":1198428,"name":"Filosofia","url":"https://www.academia.edu/Documents/in/Filosofia","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2954520" href="https://www.academia.edu/Documents/in/Est%C3%A9tica_e_Filosofia_da_Arte">Estética e Filosofia da Arte</a>, <script data-card-contents-for-ri="2954520" type="text/json">{"id":2954520,"name":"Estética e Filosofia da Arte","url":"https://www.academia.edu/Documents/in/Est%C3%A9tica_e_Filosofia_da_Arte","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3731684" href="https://www.academia.edu/Documents/in/Rememora%C3%A7%C3%A3o">Rememoração</a><script data-card-contents-for-ri="3731684" type="text/json">{"id":3731684,"name":"Rememoração","url":"https://www.academia.edu/Documents/in/Rememora%C3%A7%C3%A3o","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=110989221]'), work: {"id":110989221,"title":"Theodor W. Adorno e a elaboração do passado na sociedade administrada","created_at":"2023-12-09T11:52:29.100-08:00","owner_id":2952198,"url":"https://www.academia.edu/110989221/Theodor_W_Adorno_e_a_elabora%C3%A7%C3%A3o_do_passado_na_sociedade_administrada","slug":"Theodor_W_Adorno_e_a_elaboração_do_passado_na_sociedade_administrada","dom_id":"work_110989221","summary":"\"What it means to elaborate the past\" poses a question that, as the author himself warns, requires clarification. However, beyond that, this issue demands a subsequent analysis of the social phenomena that followed it, as well as its placement within a broader historical and intellectual context, including within Theodor W. Adorno's work. Without intending to exhaust the subject or present a conciliatory synthesis of the ideas present in Adorno's writings, since many of them vary in the development of his work, the article considers art and literature as privileged means of elaborating the past, capable of highlighting the process of dehumanization of the individual in the administered society. The Adornian requirement not to forget the catastrophes committed the 20th century, finally, takes on different dimensions in contemporary times, added to issues such as the saturation of traumatic memories.\r\n\r\n","publication":"Rapsódia – Almanaque de Filosofia e Arte","publication_with_fallback":"Rapsódia – Almanaque de Filosofia e Arte","downloadable_attachments":[{"id":108634702,"asset_id":110989221,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/108634702/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/108634702/FERNANDES_Rafaela_A._Theodor_W._Adorno_e_a_elaboracao_do_passado_na_sociedade_administrada-libre.pdf?1702153359=\u0026response-content-disposition=attachment%3B+filename%3DTheodor_W_Adorno_e_a_elaboracao_do_passa.pdf\u0026Expires=1732512246\u0026Signature=KfGFi2OjnIbCDsvsChsRNheQjSeDT1ftTPFx4ZTJje7ajppdJrdPO533Mi6HrWgttcqJnBXeleK0Y0sZEBpV~XYmpp6cEopAZaLE8LOuDYe7SmlH11rFd-Rtb~v0u9iRflA7bkTFO4Ckpv4tV8gsl1Q58I3B4GUEgRqKl7FxukSYaw0AFHGt65jdIqHM8PTtBOSPoJ8QZTWaVwNnq2rYo2C7LzYT6Tcvm4OijJsYd4dNDHjn8g7VXqwMnfnXag~aQh3vjArt9FhHJLsLmIDp-tA2Ku-xU9yRPhu5GX0M5X4tsoxrWJSAorF-YKvOItBhqeOZowfelm-6q~XvOPlAlg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/108634702/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/108634702/mini_magick20231209-1-zujtkt.png?1702151568"}],"downloadable_attachments_with_full_thumbnails":[{"id":108634702,"asset_id":110989221,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/108634702/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/108634702/FERNANDES_Rafaela_A._Theodor_W._Adorno_e_a_elaboracao_do_passado_na_sociedade_administrada-libre.pdf?1702153359=\u0026response-content-disposition=attachment%3B+filename%3DTheodor_W_Adorno_e_a_elaboracao_do_passa.pdf\u0026Expires=1732512246\u0026Signature=KfGFi2OjnIbCDsvsChsRNheQjSeDT1ftTPFx4ZTJje7ajppdJrdPO533Mi6HrWgttcqJnBXeleK0Y0sZEBpV~XYmpp6cEopAZaLE8LOuDYe7SmlH11rFd-Rtb~v0u9iRflA7bkTFO4Ckpv4tV8gsl1Q58I3B4GUEgRqKl7FxukSYaw0AFHGt65jdIqHM8PTtBOSPoJ8QZTWaVwNnq2rYo2C7LzYT6Tcvm4OijJsYd4dNDHjn8g7VXqwMnfnXag~aQh3vjArt9FhHJLsLmIDp-tA2Ku-xU9yRPhu5GX0M5X4tsoxrWJSAorF-YKvOItBhqeOZowfelm-6q~XvOPlAlg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/108634702/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/108634702/mini_magick20231209-1-zujtkt.png?1702151568"}],"has_pdf":true,"has_fulltext":true,"page_count":20,"ordered_authors":[{"id":2952198,"first_name":"Rafaela","last_name":"Fernandes","domain_name":"unifesp","page_name":"rafaelafernandes","display_name":"Rafaela 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The Luso-African generation in Portuguese Cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">ABSTRACT</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6133629" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3ead16bf1c92c2c1486a50c0ec3e07e7" rel="nofollow" data-download="{"attachment_id":53117864,"asset_id":6133629,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53117864/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_6133629 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6133629"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6133629, container: ".js-paper-rank-work_6133629", }); });</script></li><li class="js-percentile-work_6133629 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 6133629; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_6133629"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_6133629 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="6133629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6133629; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6133629]").text(description); $(".js-view-count-work_6133629").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6133629").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6133629"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="379" href="https://www.academia.edu/Documents/in/African_Studies">African Studies</a>, <script data-card-contents-for-ri="379" type="text/json">{"id":379,"name":"African Studies","url":"https://www.academia.edu/Documents/in/African_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a><script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6133629]'), work: {"id":6133629,"title":"No future ? 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The representation of the African Colonial War in Portuguese cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">ABSTRACT</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6133630" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7324c5b99db3f5b90e8985a2d3dc0afc" rel="nofollow" data-download="{"attachment_id":53117859,"asset_id":6133630,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53117859/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_6133630 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6133630"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6133630, container: ".js-paper-rank-work_6133630", }); 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Third Text</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6133632" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="634393696fa36758f991dd262f53f8c9" rel="nofollow" data-download="{"attachment_id":39496662,"asset_id":6133632,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39496662/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_6133632 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6133632"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6133632, container: ".js-paper-rank-work_6133632", }); });</script></li><li class="js-percentile-work_6133632 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 6133632; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_6133632"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_6133632 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="6133632"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6133632; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6133632]").text(description); $(".js-view-count-work_6133632").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6133632").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6133632"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="666" href="https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature">Portuguese and Brazilian Literature</a>, <script data-card-contents-for-ri="666" type="text/json">{"id":666,"name":"Portuguese and Brazilian Literature","url":"https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a><script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6133632]'), work: {"id":6133632,"title":"Fortress Europe in the Film Foreign Land. 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The concept is inspired in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8224038" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article proposes a new concept, the indisciplinary film, and aims to proof its analytical benefits by analysing an outstanding and prize-winning contemporary Portuguese example: Miguel Gomes’s Tabu (2012). The concept is inspired in Jacques Rancière’s  idea of philosophy as an area of knowledge that thinks between disciplines, as well as in his notion of the aesthetic regime. As I have suggested elsewhere , the notion of the indisciplinary film aims to substitute that of the essay film. I will repeat my argument, in order to justify why I think that the study of films that escape classification should not focus on auto-reflexivity and subjectivity, but rather concentrate on their relation between method and fiction, politics and aesthet-ics, and reception.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8224038" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9ed21766f07e484f104b59ae4db5ee45" rel="nofollow" data-download="{"attachment_id":34950173,"asset_id":8224038,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34950173/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_8224038 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8224038"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8224038, container: ".js-paper-rank-work_8224038", }); 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$(".js-view-count[data-work-id=8224038]").text(description); $(".js-view-count-work_8224038").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8224038").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8224038"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2222" href="https://www.academia.edu/Documents/in/Portuguese_Studies">Portuguese Studies</a>, <script data-card-contents-for-ri="2222" type="text/json">{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19677" href="https://www.academia.edu/Documents/in/Film_and_Philosophy">Film and Philosophy</a><script data-card-contents-for-ri="19677" type="text/json">{"id":19677,"name":"Film and Philosophy","url":"https://www.academia.edu/Documents/in/Film_and_Philosophy","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8224038]'), work: {"id":8224038,"title":"The end of history through the disclosure of fiction: indisciplinarity in Miguel Gomes' Tabu (2012)","created_at":"2014-09-06T22:01:19.625-07:00","owner_id":9302365,"url":"https://www.academia.edu/8224038/The_end_of_history_through_the_disclosure_of_fiction_indisciplinarity_in_Miguel_Gomes_Tabu_2012_","slug":"The_end_of_history_through_the_disclosure_of_fiction_indisciplinarity_in_Miguel_Gomes_Tabu_2012_","dom_id":"work_8224038","summary":"This article proposes a new concept, the indisciplinary film, and aims to proof its analytical benefits by analysing an outstanding and prize-winning contemporary Portuguese example: Miguel Gomes’s Tabu (2012). The concept is inspired in Jacques Rancière’s idea of philosophy as an area of knowledge that thinks between disciplines, as well as in his notion of the aesthetic regime. As I have suggested elsewhere , the notion of the indisciplinary film aims to substitute that of the essay film. I will repeat my argument, in order to justify why I think that the study of films that escape classification should not focus on auto-reflexivity and subjectivity, but rather concentrate on their relation between method and fiction, politics and aesthet-ics, and reception. ","publication":null,"publication_with_fallback":null,"downloadable_attachments":[{"id":34950173,"asset_id":8224038,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34950173/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34950173/5_Ferreira_cinema_and_philosophy-libre.pdf?1412137836=\u0026response-content-disposition=attachment%3B+filename%3DThe_end_of_history_through_the_disclosur.pdf\u0026Expires=1729568883\u0026Signature=Bx5W1fHL-4qQ-ILNTKftAJyTtaNARy5QKl8NqvmyUjfRSxplLAofhiexZUv7Upd3W8i07-najQX2ILqBiuxSoCZJoKU~38RdD68FeHUGc1boQhypEcVG6YELL4u-LmaAtIYQY6xoXk0ggShY3XwY3QtngFTr~FBdakVoMNMtXLlGyyaVTIPbtXB0V1CLCoVQBI6cIo4gMlwn7MZwC9YY22vXgHvWzTnDlJTX9aH8T-FvZcGEfQ-EmkAQtMIEhHX4892kI-1lWYIlQgmh3k0HjDiwEwoBlFu3vq5RpgS1uun-ZT93Yp~jbiYtJLZx2-xf47h-qagBdzQtS1l0IRBdwA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34950173/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34950173/mini_magick20190320-20411-dgnrvd.png?1553082307"}],"downloadable_attachments_with_full_thumbnails":[{"id":34950173,"asset_id":8224038,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34950173/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34950173/5_Ferreira_cinema_and_philosophy-libre.pdf?1412137836=\u0026response-content-disposition=attachment%3B+filename%3DThe_end_of_history_through_the_disclosur.pdf\u0026Expires=1729568883\u0026Signature=Bx5W1fHL-4qQ-ILNTKftAJyTtaNARy5QKl8NqvmyUjfRSxplLAofhiexZUv7Upd3W8i07-najQX2ILqBiuxSoCZJoKU~38RdD68FeHUGc1boQhypEcVG6YELL4u-LmaAtIYQY6xoXk0ggShY3XwY3QtngFTr~FBdakVoMNMtXLlGyyaVTIPbtXB0V1CLCoVQBI6cIo4gMlwn7MZwC9YY22vXgHvWzTnDlJTX9aH8T-FvZcGEfQ-EmkAQtMIEhHX4892kI-1lWYIlQgmh3k0HjDiwEwoBlFu3vq5RpgS1uun-ZT93Yp~jbiYtJLZx2-xf47h-qagBdzQtS1l0IRBdwA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34950173/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34950173/mini_magick20190320-20411-dgnrvd.png?1553082307"}],"has_pdf":true,"has_fulltext":true,"page_count":30,"ordered_authors":[{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory","nofollow":false},{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies","nofollow":false},{"id":19677,"name":"Film and Philosophy","url":"https://www.academia.edu/Documents/in/Film_and_Philosophy","nofollow":false}],"publication_year":null,"publication_year_with_fallback":null,"paper_rank":null,"all_time_views":172,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8224048" data-work_id="8224048" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8224048/Em_favor_do_cinema_indisciplinar_o_caso_portugu%C3%AAs">Em favor do cinema indisciplinar: o caso português</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumo: O cinema como lugar de estéticas que possibilitam um pensamento heterodoxo possui uma longa tradição. Desde o cinema mudo, filmes exploram e transgridam as fronteiras disciplinares, expondo a construção de suas ficções. Nas... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8224048" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumo: O cinema como lugar de estéticas que possibilitam um pensamento heterodoxo possui uma longa tradição. Desde o cinema mudo, filmes exploram e transgridam as fronteiras disciplinares, expondo a construção de suas ficções. Nas últimas duas décadas, este fenômeno, evidente em cineastas consagrados como Chris Marker, Harun Farocki, Jean-Luc Godard e Eduardo Coutinho, entre muitos outros, tem sido discutido cada vez mais através do conceito ensaio fílmico ou filme-ensaio. Partindo de uma discussão deste conceito, este artigo pretende introduzir outro, o filme indisciplinar, e, para evidenciá-lo, traçar sua presença no cinema português. Os filmes escolhidos para testar o novo conceito são Douro, Faina Fluvial (1931) de Manoel de Oliveira, Acto da Primavera (1963) de Manoel de Oliveira, Catembe (1965) de Faria de Almeida e Jaime (1974) de António Reis.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8224048" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="12033ab4876a86e31d50cebd7d3d3d9f" rel="nofollow" data-download="{"attachment_id":34649435,"asset_id":8224048,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34649435/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_8224048 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8224048"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8224048, container: ".js-paper-rank-work_8224048", }); 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$(".js-view-count[data-work-id=8224048]").text(description); $(".js-view-count-work_8224048").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8224048").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8224048"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2222" href="https://www.academia.edu/Documents/in/Portuguese_Studies">Portuguese Studies</a>, <script data-card-contents-for-ri="2222" type="text/json">{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a><script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8224048]'), work: {"id":8224048,"title":"Em favor do cinema indisciplinar: o caso português","created_at":"2014-09-06T22:02:54.730-07:00","owner_id":9302365,"url":"https://www.academia.edu/8224048/Em_favor_do_cinema_indisciplinar_o_caso_portugu%C3%AAs","slug":"Em_favor_do_cinema_indisciplinar_o_caso_português","dom_id":"work_8224048","summary":"Resumo: O cinema como lugar de estéticas que possibilitam um pensamento heterodoxo possui uma longa tradição. Desde o cinema mudo, filmes exploram e transgridam as fronteiras disciplinares, expondo a construção de suas ficções. Nas últimas duas décadas, este fenômeno, evidente em cineastas consagrados como Chris Marker, Harun Farocki, Jean-Luc Godard e Eduardo Coutinho, entre muitos outros, tem sido discutido cada vez mais através do conceito ensaio fílmico ou filme-ensaio. Partindo de uma discussão deste conceito, este artigo pretende introduzir outro, o filme indisciplinar, e, para evidenciá-lo, traçar sua presença no cinema português. Os filmes escolhidos para testar o novo conceito são Douro, Faina Fluvial (1931) de Manoel de Oliveira, Acto da Primavera (1963) de Manoel de Oliveira, Catembe (1965) de Faria de Almeida e Jaime (1974) de António Reis. ","publication":null,"publication_with_fallback":"Rebeca","downloadable_attachments":[{"id":34649435,"asset_id":8224048,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34649435/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34649435/Cinema_indisciplinar_rebeca-libre.pdf?1410066150=\u0026response-content-disposition=attachment%3B+filename%3DEm_favor_do_cinema_indisciplinar_o_caso.pdf\u0026Expires=1729568883\u0026Signature=I3boEr6Fzy9bruBJ8RUjrCwYa11H52ZkshFHr56VNsurCJ7UdZW5kzQS6PeA25KzuadfhKWUg5~jz-7ogZPED-CqOm~R3uzP7pwFfSTjwzEGfaE8uBEY3XdGk0K8oQPUfanGTb98dgt2n1oPgIxAudu0cCo3IxpwOWbRrx1BKJ29ddWvtxgjfQ~G841HJwtZ7~UVs4G7ByaESJlaI~zTR0Chsz3eseWdOXaHSc6ZAfwsNBUL2VFzwBW9iR8ehLnCbvHFEY85mWcP6wBcfEZBU~UaENzyqu~ywcIAAqalEZPTRLdMynXptglwDNyh~SvFTc3zAQ7-PvLMDsHv1C-E7Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34649435/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34649435/mini_magick20190321-28465-gwec0z.png?1553222449"}],"downloadable_attachments_with_full_thumbnails":[{"id":34649435,"asset_id":8224048,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34649435/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34649435/Cinema_indisciplinar_rebeca-libre.pdf?1410066150=\u0026response-content-disposition=attachment%3B+filename%3DEm_favor_do_cinema_indisciplinar_o_caso.pdf\u0026Expires=1729568883\u0026Signature=I3boEr6Fzy9bruBJ8RUjrCwYa11H52ZkshFHr56VNsurCJ7UdZW5kzQS6PeA25KzuadfhKWUg5~jz-7ogZPED-CqOm~R3uzP7pwFfSTjwzEGfaE8uBEY3XdGk0K8oQPUfanGTb98dgt2n1oPgIxAudu0cCo3IxpwOWbRrx1BKJ29ddWvtxgjfQ~G841HJwtZ7~UVs4G7ByaESJlaI~zTR0Chsz3eseWdOXaHSc6ZAfwsNBUL2VFzwBW9iR8ehLnCbvHFEY85mWcP6wBcfEZBU~UaENzyqu~ywcIAAqalEZPTRLdMynXptglwDNyh~SvFTc3zAQ7-PvLMDsHv1C-E7Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34649435/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34649435/mini_magick20190321-28465-gwec0z.png?1553222449"}],"has_pdf":true,"has_fulltext":true,"page_count":40,"ordered_authors":[{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory","nofollow":false},{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis","nofollow":false},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History"}],"publication_year":null,"publication_year_with_fallback":2016,"paper_rank":null,"all_time_views":66,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8224166" data-work_id="8224166" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8224166/Nelson_Rodrigues_adaptado_G%C3%AAmeas_de_Andrucha_Waddington_e_a_dupla_face_da_transgress%C3%A3o_rodrigueana_Concinnitas">Nelson Rodrigues adaptado: Gêmeas, de Andrucha Waddington, e a dupla face da transgressão rodrigueana; Concinnitas</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumo Quando o filme Gêmeas, de Andrucha Waddington, adaptação cinematográfica do folhetim As Gêmeas, de Nelson Rodrigues, entrou em cartaz nos cinemas brasileiros em 1999, o público aplaudiu, e a crítica questionou a qualidade da... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8224166" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumo<br />Quando o filme Gêmeas, de Andrucha Waddington, adaptação cinematográfica do folhetim As Gêmeas, de Nelson Rodrigues, entrou em cartaz nos cinemas brasileiros em 1999, o público aplaudiu, e a crítica questionou a qualidade da adaptação. Este artigo descreve e analisa a adaptação, interrogando se a opinião da crítica resulta de preconceitos em relação à possibilidade da transcodificação dos textos de Rodrigues para a grande tela ou de mitos relacionados com a transgressão da obra do escritor, hoje em dia considerado canônico. <br /><br /><br />Abstract<br />When the feature film Twins de Andrucha Waddington, a cinematographic adaptation of the short story The Twins by Nelson Rodrigues, entered the Brazilian venue in 1999, the spectators adored it and the critics questioned the quality of the adaptation. This article describes and analyses the strategies of adaptation, questioning whether the critic’s opinion results from prejudices in relation to the possibility of transcoding Rodrigues’ text to the silver screen or whether it results from myths related to the transgressivity of the writer’s work, nowadays considered canonical.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8224166" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="12dad61ef4ed54ada07ee0a98a3b2a37" rel="nofollow" data-download="{"attachment_id":34649489,"asset_id":8224166,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34649489/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_8224166 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8224166"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8224166, container: ".js-paper-rank-work_8224166", }); 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$(".js-view-count[data-work-id=8224166]").text(description); $(".js-view-count-work_8224166").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8224166").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8224166"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="666" href="https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature">Portuguese and Brazilian Literature</a>, <script data-card-contents-for-ri="666" type="text/json">{"id":666,"name":"Portuguese and Brazilian Literature","url":"https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3827" href="https://www.academia.edu/Documents/in/Brazilian_Studies">Brazilian Studies</a><script data-card-contents-for-ri="3827" type="text/json">{"id":3827,"name":"Brazilian Studies","url":"https://www.academia.edu/Documents/in/Brazilian_Studies","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8224166]'), work: {"id":8224166,"title":"Nelson Rodrigues adaptado: Gêmeas, de Andrucha Waddington, e a dupla face da transgressão rodrigueana; Concinnitas","created_at":"2014-09-06T22:10:57.607-07:00","owner_id":9302365,"url":"https://www.academia.edu/8224166/Nelson_Rodrigues_adaptado_G%C3%AAmeas_de_Andrucha_Waddington_e_a_dupla_face_da_transgress%C3%A3o_rodrigueana_Concinnitas","slug":"Nelson_Rodrigues_adaptado_Gêmeas_de_Andrucha_Waddington_e_a_dupla_face_da_transgressão_rodrigueana_Concinnitas","dom_id":"work_8224166","summary":"Resumo\nQuando o filme Gêmeas, de Andrucha Waddington, adaptação cinematográfica do folhetim As Gêmeas, de Nelson Rodrigues, entrou em cartaz nos cinemas brasileiros em 1999, o público aplaudiu, e a crítica questionou a qualidade da adaptação. Este artigo descreve e analisa a adaptação, interrogando se a opinião da crítica resulta de preconceitos em relação à possibilidade da transcodificação dos textos de Rodrigues para a grande tela ou de mitos relacionados com a transgressão da obra do escritor, hoje em dia considerado canônico. \n\n\nAbstract\nWhen the feature film Twins de Andrucha Waddington, a cinematographic adaptation of the short story The Twins by Nelson Rodrigues, entered the Brazilian venue in 1999, the spectators adored it and the critics questioned the quality of the adaptation. This article describes and analyses the strategies of adaptation, questioning whether the critic’s opinion results from prejudices in relation to the possibility of transcoding Rodrigues’ text to the silver screen or whether it results from myths related to the transgressivity of the writer’s work, nowadays considered canonical. \n","publication":null,"publication_with_fallback":"Revista Concinnitas","downloadable_attachments":[{"id":34649489,"asset_id":8224166,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34649489/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34649489/Gemeas_concinnitas_ultima-libre.pdf?1410066621=\u0026response-content-disposition=attachment%3B+filename%3DNelson_Rodrigues_adaptado_Gemeas_de_Andr.pdf\u0026Expires=1729559944\u0026Signature=RlIAji1qq6eNyjc97yqG1EX1yudEafN-Z~Uje3uF0sJdFaAjt6Bf-5EW5UAK1dDfmhlK5n7bc2Ufbh7xVde1O22reC0tsbCsGUs2UHB-QGz3MvBCL2XoYZcshI44FVlu9SyrgOwoMksOiLAIStq~9fR~FQwpzgbNk9iYulJpccCWtbYivWLYT8U5xbpOaGJ~8RHJrfaYyqhGQ93wfdbjiSu1FLfseUKT607POMkE1hMJmAZzycQxmUzaf5cMeo1ASCM~ebmX9Af9l5GyzEVa4HkgAiNDKKfHD5CbgCYPP~2V8fy7yTtZlmJqSMgBLcdhrdbYBgyTncCeT4mY8qOpVg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34649489/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34649489/mini_magick20180819-15903-1moyfvx.png?1534712889"}],"downloadable_attachments_with_full_thumbnails":[{"id":34649489,"asset_id":8224166,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34649489/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34649489/Gemeas_concinnitas_ultima-libre.pdf?1410066621=\u0026response-content-disposition=attachment%3B+filename%3DNelson_Rodrigues_adaptado_Gemeas_de_Andr.pdf\u0026Expires=1729559944\u0026Signature=RlIAji1qq6eNyjc97yqG1EX1yudEafN-Z~Uje3uF0sJdFaAjt6Bf-5EW5UAK1dDfmhlK5n7bc2Ufbh7xVde1O22reC0tsbCsGUs2UHB-QGz3MvBCL2XoYZcshI44FVlu9SyrgOwoMksOiLAIStq~9fR~FQwpzgbNk9iYulJpccCWtbYivWLYT8U5xbpOaGJ~8RHJrfaYyqhGQ93wfdbjiSu1FLfseUKT607POMkE1hMJmAZzycQxmUzaf5cMeo1ASCM~ebmX9Af9l5GyzEVa4HkgAiNDKKfHD5CbgCYPP~2V8fy7yTtZlmJqSMgBLcdhrdbYBgyTncCeT4mY8qOpVg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34649489/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34649489/mini_magick20180819-15903-1moyfvx.png?1534712889"}],"has_pdf":true,"has_fulltext":true,"page_count":18,"ordered_authors":[{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}],"research_interests":[{"id":666,"name":"Portuguese and Brazilian Literature","url":"https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis","nofollow":false},{"id":3827,"name":"Brazilian Studies","url":"https://www.academia.edu/Documents/in/Brazilian_Studies","nofollow":false}],"publication_year":null,"publication_year_with_fallback":2004,"paper_rank":null,"all_time_views":936,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8224682" data-work_id="8224682" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8224682/IDENTITIES_ADRIFT_LUSOPHONE_ENCOUNTERS_IN_PORTUGUESE_CINEMA_In_Verena_Berger_Miya_Komori_Org_Polyglot_Cinema_Migration_and_Transcultural_Narration_in_France_Italy_Portugal_and_Spain_Muenster_Lit_Verlag_2010_p_173_192">IDENTITIES ADRIFT – LUSOPHONE ENCOUNTERS IN PORTUGUESE CINEMA In: Verena Berger, Miya Komori. (Org.). Polyglot Cinema - Migration and Transcultural Narration in France, Italy, Portugal and Spain. Muenster: Lit-Verlag, 2010, p. 173-192.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Any analysis of Portuguese films under the perspective of plurilinguism has to part from an open concept that not only considers the languages spoken in the former colonies – like the different Creoles – but also the diverse Portuguese... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8224682" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Any analysis of Portuguese films under the perspective of plurilinguism has to part from an open concept that not only considers the languages spoken in the former colonies – like the different Creoles – but also the diverse Portuguese accents and grammars. Indeed, the few Portuguese films that do deal with immigrants structure their narratives around cultural encounters between characters with various lusophone backgrounds. <br />So far only three Portuguese filmmakers have dedicated feature films to the subject: Pedro Costa, author of Casa de Lava/Down to Earth, 1994, set mostly on the Cape Verdean Island of Fire, and of the ‘Fontainha’s trilogy’ (Ossos/Bones, 1997, No Quarto da Vanda/In Vanda’s Room, 2000, Juventude em Marcha/Colossal Youth, 2006) about the lives of Cape Verdean immigrants and their descendants in the Lisbon slum Star of Africa; Teresa Villaverde, whose interest in the future of adolescents made her choose an African descendant as one of three main characters in Os Mutantes/The Mutants, 1998 (and, exceptionally, a young Russian woman in Transe, 2006); as well as Leonel Vieira who offers a mainstream portrait of the second generation of Angolan immigrants in Zona J/J Zone, 1998. <br />Additionally, there are some co-productions between Portugal, the PALOP and Brazil that tackle the subject of migration. They were directed by filmmakers of diverse lusophone backgrounds and tell stories about Brazilian and African migrants in Europe: Terra Estrangeira/Foreign Land (Walter Salles, 1995), Fintar o Destino (Fernando Vendrell, 1998), Nha Fala (Flora Gomes, 2002), Tudo isto é Fado/Fado Blues (Luís Galvão Teles, 2003) and Um Tiro no Escuro/A Shot in the Dark (Leonel Vieira, 2005). <br />This chapter aims to give an overview of how these films deal with the question of Lusofonia. It will analyse how the filmmakers portray the encounters between representatives of the different languages and accents that depart from mainland Portuguese. Its main objective is to understand what perspectives they develop on post-colonial lusophone identities, that is, if they replicate the neo-colonial discourse on cultural homogeneity and harmony or engage with the potential conflicts of a plurality of languages and countries.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8224682" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="96c5ecdaa0372cc9add2e87563327e22" rel="nofollow" data-download="{"attachment_id":34649958,"asset_id":8224682,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34649958/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_8224682 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8224682"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8224682, container: ".js-paper-rank-work_8224682", }); 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(Org.). Polyglot Cinema - Migration and Transcultural Narration in France, Italy, Portugal and Spain. Muenster: Lit-Verlag, 2010, p. 173-192.","created_at":"2014-09-06T23:03:06.470-07:00","owner_id":9302365,"url":"https://www.academia.edu/8224682/IDENTITIES_ADRIFT_LUSOPHONE_ENCOUNTERS_IN_PORTUGUESE_CINEMA_In_Verena_Berger_Miya_Komori_Org_Polyglot_Cinema_Migration_and_Transcultural_Narration_in_France_Italy_Portugal_and_Spain_Muenster_Lit_Verlag_2010_p_173_192","slug":"IDENTITIES_ADRIFT_LUSOPHONE_ENCOUNTERS_IN_PORTUGUESE_CINEMA_In_Verena_Berger_Miya_Komori_Org_Polyglot_Cinema_Migration_and_Transcultural_Narration_in_France_Italy_Portugal_and_Spain_Muenster_Lit_Verlag_2010_p_173_192","dom_id":"work_8224682","summary":"Any analysis of Portuguese films under the perspective of plurilinguism has to part from an open concept that not only considers the languages spoken in the former colonies – like the different Creoles – but also the diverse Portuguese accents and grammars. Indeed, the few Portuguese films that do deal with immigrants structure their narratives around cultural encounters between characters with various lusophone backgrounds. \r\nSo far only three Portuguese filmmakers have dedicated feature films to the subject: Pedro Costa, author of Casa de Lava/Down to Earth, 1994, set mostly on the Cape Verdean Island of Fire, and of the ‘Fontainha’s trilogy’ (Ossos/Bones, 1997, No Quarto da Vanda/In Vanda’s Room, 2000, Juventude em Marcha/Colossal Youth, 2006) about the lives of Cape Verdean immigrants and their descendants in the Lisbon slum Star of Africa; Teresa Villaverde, whose interest in the future of adolescents made her choose an African descendant as one of three main characters in Os Mutantes/The Mutants, 1998 (and, exceptionally, a young Russian woman in Transe, 2006); as well as Leonel Vieira who offers a mainstream portrait of the second generation of Angolan immigrants in Zona J/J Zone, 1998. \r\nAdditionally, there are some co-productions between Portugal, the PALOP and Brazil that tackle the subject of migration. They were directed by filmmakers of diverse lusophone backgrounds and tell stories about Brazilian and African migrants in Europe: Terra Estrangeira/Foreign Land (Walter Salles, 1995), Fintar o Destino (Fernando Vendrell, 1998), Nha Fala (Flora Gomes, 2002), Tudo isto é Fado/Fado Blues (Luís Galvão Teles, 2003) and Um Tiro no Escuro/A Shot in the Dark (Leonel Vieira, 2005). \r\nThis chapter aims to give an overview of how these films deal with the question of Lusofonia. It will analyse how the filmmakers portray the encounters between representatives of the different languages and accents that depart from mainland Portuguese. Its main objective is to understand what perspectives they develop on post-colonial lusophone identities, that is, if they replicate the neo-colonial discourse on cultural homogeneity and harmony or engage with the potential conflicts of a plurality of languages and countries.\r\n","publication":null,"publication_with_fallback":null,"downloadable_attachments":[{"id":34649958,"asset_id":8224682,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34649958/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34649958/Plurilingualism_coferreira-libre.pdf?1410069745=\u0026response-content-disposition=attachment%3B+filename%3DIDENTITIES_ADRIFT_LUSOPHONE_ENCOUNTERS_I.pdf\u0026Expires=1732684814\u0026Signature=MhKK0aTRank1cTMVK7gyFAHxvtPhPygiRCIDlmOjJl6ZH8RvPn1RzaYA~IQhfeUqaIyV1FUr7uKsprivzu9S9AwjK76CO261nfMWC2H4BpyJFpBZfpDIwXv7CTXja90PUO37SDm5jfvBkgV-jtjHc9AYG-YZuBjf7Yd218kkV9PKcp19ij4ivcdqqs5Mc6hFcl6w6rqwI6hhHoniUHzapzHneFToalbwdq~8G9CRwJK6~BXMss2WRfhKTRwvZGx8LjIw58HMhR6QtCLnwQrLEGRYjitPAWqJF3w0SsgN-VcBIGVYT9YLnZDWt3GRI-xENEpF7UH0Ax699uKzAXEvtw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34649958/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34649958/mini_magick20190321-25042-1ggyt4v.png?1553222086"}],"downloadable_attachments_with_full_thumbnails":[{"id":34649958,"asset_id":8224682,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/34649958/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/34649958/Plurilingualism_coferreira-libre.pdf?1410069745=\u0026response-content-disposition=attachment%3B+filename%3DIDENTITIES_ADRIFT_LUSOPHONE_ENCOUNTERS_I.pdf\u0026Expires=1732684814\u0026Signature=MhKK0aTRank1cTMVK7gyFAHxvtPhPygiRCIDlmOjJl6ZH8RvPn1RzaYA~IQhfeUqaIyV1FUr7uKsprivzu9S9AwjK76CO261nfMWC2H4BpyJFpBZfpDIwXv7CTXja90PUO37SDm5jfvBkgV-jtjHc9AYG-YZuBjf7Yd218kkV9PKcp19ij4ivcdqqs5Mc6hFcl6w6rqwI6hhHoniUHzapzHneFToalbwdq~8G9CRwJK6~BXMss2WRfhKTRwvZGx8LjIw58HMhR6QtCLnwQrLEGRYjitPAWqJF3w0SsgN-VcBIGVYT9YLnZDWt3GRI-xENEpF7UH0Ax699uKzAXEvtw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/34649958/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/34649958/mini_magick20190321-25042-1ggyt4v.png?1553222086"}],"has_pdf":true,"has_fulltext":true,"page_count":15,"ordered_authors":[{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false},{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis","nofollow":false}],"publication_year":null,"publication_year_with_fallback":null,"paper_rank":null,"all_time_views":287,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8224772" data-work_id="8224772" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8224772/Losing_sight_in_the_globalized_city_Estorvo_Turbulence_2000_by_Ruy_Guerra_and_Ensaio_sobre_a_Cegueira_Blindness_2008_by_Fernando_Meirelles">Losing sight in the globalized city: Estorvo/Turbulence (2000) by Ruy Guerra and Ensaio sobre a Cegueira/Blindness (2008) by Fernando Meirelles</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Two Brazilian co-productions, Turbulence (2000) and BLINDNESS (2008), have used their modes of production as a motive to situate their stories in urban spaces that are in fact assembled cities. Turbulence creates a location by drawing on... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8224772" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Two Brazilian co-productions, Turbulence (2000) and BLINDNESS (2008), have used their modes of production as a motive to situate their stories in urban spaces that are in fact assembled cities. Turbulence creates a location by drawing on footage filmed in Havana, Lisbon and Rio de Janeiro. Filming for BLINDNESS took place in Toronto, São Paulo, Osasco and Montevideo. In both cases THE CITIES are at once unnamed and recognizable, transnational and familiar. What is more, they have a deep impact on their characters’ emotions within these spaces. In both cases losing (clear) sight is a metaphor for the inability of coping with society’s inhumanity. The aim of this article is to compare the two films, discuss their adaptation from renowned novels and reveal their differences: while Turbulence is an indisciplinary take on a young man’s vision obfuscated by the repressive paternalistic order he lives in, BLINDNESS is a disciplinary approach towards the loss of sight of an entire civilization. While the first film develops an allegorical and heterogeneous city space that aims to make us perceive a repressive (emotional) cultural LANDSCAPE associated with the Ibero-American world, the second is rather an altered but conventional take on the ancient myth of Oedipus that does not offer new insights by means of the homogenous portrayal of a globalized Western megalopolis.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8224772" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3a739ab76d56cc31b493ff10c0eb7ec0" rel="nofollow" data-download="{"attachment_id":34650015,"asset_id":8224772,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34650015/download_file?st=MTczMzAyMDYzMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9302365" href="https://unifesp.academia.edu/CarolinFerreira">Carolin Overhoff Ferreira</a><script data-card-contents-for-user="9302365" type="text/json">{"id":9302365,"first_name":"Carolin Overhoff","last_name":"Ferreira","domain_name":"unifesp","page_name":"CarolinFerreira","display_name":"Carolin Overhoff Ferreira","profile_url":"https://unifesp.academia.edu/CarolinFerreira","photo":"https://0.academia-photos.com/9302365/3156701/30625881/s65_carolin_overhoff.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_8224772 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8224772"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8224772, container: ".js-paper-rank-work_8224772", }); 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$(".js-view-count[data-work-id=8224772]").text(description); $(".js-view-count-work_8224772").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8224772").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8224772"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3827" href="https://www.academia.edu/Documents/in/Brazilian_Studies">Brazilian Studies</a>, <script data-card-contents-for-ri="3827" type="text/json">{"id":3827,"name":"Brazilian Studies","url":"https://www.academia.edu/Documents/in/Brazilian_Studies","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="45389" href="https://www.academia.edu/Documents/in/Transnational_Cinema">Transnational Cinema</a><script data-card-contents-for-ri="45389" type="text/json">{"id":45389,"name":"Transnational Cinema","url":"https://www.academia.edu/Documents/in/Transnational_Cinema","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8224772]'), work: {"id":8224772,"title":"Losing sight in the globalized city: Estorvo/Turbulence (2000) by Ruy Guerra and Ensaio sobre a Cegueira/Blindness (2008) by Fernando Meirelles","created_at":"2014-09-06T23:11:02.828-07:00","owner_id":9302365,"url":"https://www.academia.edu/8224772/Losing_sight_in_the_globalized_city_Estorvo_Turbulence_2000_by_Ruy_Guerra_and_Ensaio_sobre_a_Cegueira_Blindness_2008_by_Fernando_Meirelles","slug":"Losing_sight_in_the_globalized_city_Estorvo_Turbulence_2000_by_Ruy_Guerra_and_Ensaio_sobre_a_Cegueira_Blindness_2008_by_Fernando_Meirelles","dom_id":"work_8224772","summary":"Two Brazilian co-productions, Turbulence (2000) and BLINDNESS (2008), have used their modes of production as a motive to situate their stories in urban spaces that are in fact assembled cities. Turbulence creates a location by drawing on footage filmed in Havana, Lisbon and Rio de Janeiro. Filming for BLINDNESS took place in Toronto, São Paulo, Osasco and Montevideo. In both cases THE CITIES are at once unnamed and recognizable, transnational and familiar. What is more, they have a deep impact on their characters’ emotions within these spaces. In both cases losing (clear) sight is a metaphor for the inability of coping with society’s inhumanity. The aim of this article is to compare the two films, discuss their adaptation from renowned novels and reveal their differences: while Turbulence is an indisciplinary take on a young man’s vision obfuscated by the repressive paternalistic order he lives in, BLINDNESS is a disciplinary approach towards the loss of sight of an entire civilization. While the first film develops an allegorical and heterogeneous city space that aims to make us perceive a repressive (emotional) cultural LANDSCAPE associated with the Ibero-American world, the second is rather an altered but conventional take on the ancient myth of Oedipus that does not offer new insights by means of the homogenous portrayal of a globalized Western megalopolis.","publication":null,"publication_with_fallback":"Nuevo mundo-mundos 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