Other by Teresa Vieira
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Num mundo em constante mutação, novas tendências e novas explorações surgem. Nos anos 60, nos Est... more Num mundo em constante mutação, novas tendências e novas explorações surgem. Nos anos 60, nos Estados Unidos, uma revolução iniciava-se: o panorama da dança e da performance modificavam-se e os paradigmas, inerentes aos mesmos, quebravam-se. O corpo enquanto corpo presente, a dança enquanto um conjunto de movimentos banais, expressos por um corpo do qual o público não consegue fugir. A norma clássica cai: o pós-modernismo, nos anos 60, quebrou com as convenções daquilo que poderia ou não ser considerado dança ou performance. Yvonne Rainer, cineasta, coreógrafa e bailarina, fez parte do Judson Dance Group, nos anos 60, e marcou-se, nessa altura, enquanto uma das mais influentes coreógrafas e bailarinas do pós-modernismo-ou anti-modernismo-do universo da dança. Trio A e Terrain são alguns dos exemplos das peças mais influentes do seu trabalho, e que questionam, no seu cerne, a forma como a dança é representada, a forma como o corpo é representado, tal como o papel disruptivo e transgressivo da performance. Ainda que esta seja a perspectiva actual, a realidade é que a opinião de grande parte dos críticos da época não era favorável em relação às performances de Rainer. As suas criações, no entanto, não tinham por objectivo agradar ao público, nem induzir uma relação de affect com o público. O público, neste caso, era predominantemente composto por indivíduos do mundo da dança, ou das artes em geral. Qual será o real efeito de tal tipo de performance num público não inserido no mundo das artes, ou até mesmo num público especializado? Neste ensaio, o foco é colocado no trabalho de Yvonne Rainer, no seu papel no panorama da dança e da performance, e, igualmente, na análise da recepção, por parte do público, de algo que quebra com as convenções e com as expectativas.
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Jonas Mekas é um diarista, um capturador de realidades da sua vida, da vida que o rodeia. Entende... more Jonas Mekas é um diarista, um capturador de realidades da sua vida, da vida que o rodeia. Entender o processo de realização dos seus filmes implica separar duas partes do processo: a filmagem e a edição. A primeira relaciona-se com a vertente realista e natural dos seus filmes, enquanto que a segunda explora vertentes mais experimentais e avant-garde, culminando, no final, em filmes documentais que nos mostram a realidade de acordo com a perspectiva do realizador. O presente trabalho procura entender os processos que induzem a criação da estética específica dos filmes diários avant-garde de Mekas, procurando entender de que forma é que a realidade pessoal do realizador é moldada pelo processo de montagem ligado à associação livre, e de que forma é que a quebra da estrutura narrativa clássica influencia o espectador, tal como outras estratégias de filmagem e edição utilizadas pelo realizador.
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Thesis Chapters by Teresa Vieira
One of the cases that exemplifies the role of small cinemas in the context of european cinema is ... more One of the cases that exemplifies the role of small cinemas in the context of european cinema is the
lithuanian cinema produced in the 90s. This case provides us some clues regarding the small cinema’s
function as transnational cultural memory technologies, with the power of promoting the inclusion goals
set by the European Union.
At the same time, the analysis of the cinematographic production of this country, in this period, allows
us to see the problems that small cinemas had - and still have - to face, as well as the strategies that are
developed to deal with them. The development of strategies that allow the creation of movies according
to the expectations of forms and contents of their target audience, the public and the selection juris of film
festivals, is one of the main examples. This way, the focues in on the achievement of a middle way
between the search for the exotic in the ‘other’ and the need to comply to the hegemonic/western
signification framework, using forms and contents that show their western connection and their national
peculiarities.
However, during this process, the focus on the needs and expectations of the local public is
significantly lower: in the lithuanian case, the public showed some needs and expectations that were a
result of the socially and politically unstable period in which they were living, that were largely ignored
by the generation of ‘poetic documentaries’. By making films that were mainly contemplative and
metaphorical, with forms and contents that didn’t correspond to the patterns and demands of the national
public, they lost this public, on behalf of reaching western audiences and having foreign financial funding
possibilities.
The issue of the concept of this - as well as other - small cinemas as national cinemas is raised, as well
as, consequently, the notion of this cinema as a technology of cultural memory. In the case of lithuanian
cinema (in the 90s), it’s possible to see that, even though it can’t be categorized as a national cinema - due
to the loss of the national audience -, it has shown, at that time - and even nowadays -, films whose
function of transmitting and disclosing cultural memory is quite clear, even though it may be shaped for
western receptivity - and according to its patterns. These documentaries show us features of the lithuanian
cultural memory and national identity, and were one of the first ‘presentation cards’ of this (re)new(ed)
nation, in the western political and social scene, having, as well as other small cinemas, the significance
of allowing the contact with the histories, the memories and the identities that don’t belong to the western
hegemonic discourse
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Other by Teresa Vieira
Thesis Chapters by Teresa Vieira
lithuanian cinema produced in the 90s. This case provides us some clues regarding the small cinema’s
function as transnational cultural memory technologies, with the power of promoting the inclusion goals
set by the European Union.
At the same time, the analysis of the cinematographic production of this country, in this period, allows
us to see the problems that small cinemas had - and still have - to face, as well as the strategies that are
developed to deal with them. The development of strategies that allow the creation of movies according
to the expectations of forms and contents of their target audience, the public and the selection juris of film
festivals, is one of the main examples. This way, the focues in on the achievement of a middle way
between the search for the exotic in the ‘other’ and the need to comply to the hegemonic/western
signification framework, using forms and contents that show their western connection and their national
peculiarities.
However, during this process, the focus on the needs and expectations of the local public is
significantly lower: in the lithuanian case, the public showed some needs and expectations that were a
result of the socially and politically unstable period in which they were living, that were largely ignored
by the generation of ‘poetic documentaries’. By making films that were mainly contemplative and
metaphorical, with forms and contents that didn’t correspond to the patterns and demands of the national
public, they lost this public, on behalf of reaching western audiences and having foreign financial funding
possibilities.
The issue of the concept of this - as well as other - small cinemas as national cinemas is raised, as well
as, consequently, the notion of this cinema as a technology of cultural memory. In the case of lithuanian
cinema (in the 90s), it’s possible to see that, even though it can’t be categorized as a national cinema - due
to the loss of the national audience -, it has shown, at that time - and even nowadays -, films whose
function of transmitting and disclosing cultural memory is quite clear, even though it may be shaped for
western receptivity - and according to its patterns. These documentaries show us features of the lithuanian
cultural memory and national identity, and were one of the first ‘presentation cards’ of this (re)new(ed)
nation, in the western political and social scene, having, as well as other small cinemas, the significance
of allowing the contact with the histories, the memories and the identities that don’t belong to the western
hegemonic discourse
lithuanian cinema produced in the 90s. This case provides us some clues regarding the small cinema’s
function as transnational cultural memory technologies, with the power of promoting the inclusion goals
set by the European Union.
At the same time, the analysis of the cinematographic production of this country, in this period, allows
us to see the problems that small cinemas had - and still have - to face, as well as the strategies that are
developed to deal with them. The development of strategies that allow the creation of movies according
to the expectations of forms and contents of their target audience, the public and the selection juris of film
festivals, is one of the main examples. This way, the focues in on the achievement of a middle way
between the search for the exotic in the ‘other’ and the need to comply to the hegemonic/western
signification framework, using forms and contents that show their western connection and their national
peculiarities.
However, during this process, the focus on the needs and expectations of the local public is
significantly lower: in the lithuanian case, the public showed some needs and expectations that were a
result of the socially and politically unstable period in which they were living, that were largely ignored
by the generation of ‘poetic documentaries’. By making films that were mainly contemplative and
metaphorical, with forms and contents that didn’t correspond to the patterns and demands of the national
public, they lost this public, on behalf of reaching western audiences and having foreign financial funding
possibilities.
The issue of the concept of this - as well as other - small cinemas as national cinemas is raised, as well
as, consequently, the notion of this cinema as a technology of cultural memory. In the case of lithuanian
cinema (in the 90s), it’s possible to see that, even though it can’t be categorized as a national cinema - due
to the loss of the national audience -, it has shown, at that time - and even nowadays -, films whose
function of transmitting and disclosing cultural memory is quite clear, even though it may be shaped for
western receptivity - and according to its patterns. These documentaries show us features of the lithuanian
cultural memory and national identity, and were one of the first ‘presentation cards’ of this (re)new(ed)
nation, in the western political and social scene, having, as well as other small cinemas, the significance
of allowing the contact with the histories, the memories and the identities that don’t belong to the western
hegemonic discourse