André Brasil
Com doutorado em Comunicação pela UFRJ (estágio doutoral na Universidade Paris 8), André Brasil é professor do Departamento de Comunicação da UFMG, onde integra o corpo docente do Programa de Pós-Graduação. Pesquisador do CNPq, participa do Grupo de Pesquisa Poéticas da Experiência e da equipe de editores da Revista Devires - Cinema e Humanidades. Atualmente, integra o comitê gestor do Programa de Formação Transversal em Saberes Tradicionais na UFMG.
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Papers by André Brasil
Pacific, a documentary film by Marcelo Pedroso, is made exclusively with images produced by tourists during a cruise to Fernando de Noronha, an island off the Brazilian coast. Through this strategy, the film shows, from the inside, a heterotopy characterized by the imperative of jouissance and performance of oneself. When the filmmaker receives these images which were not created for the film but yet freely handed to him by its makers, he finds himself before an impasse: by one hand, the question is not to adhere in an acritical manner to the universe constituted by the cruise; by the other hand, the critical position should not result from a gesture of excessive distance. Amongst the surplus of images and performances of oneself, oscillating between succeeding and missing it, the film seeks the fair distance.
From reality shows to personal web videos, from social networks to games, from documentary films to contemporary art experiences, ordinary life is being called, stimulated and provoked to participate and interact in a constant self-performance. Therefore images become a biopolitical place in which life forms perform. Facing that diagnosis, shared by other authors, this text proposes a conceptual map, still a work in progress, of a research program. In order to do so, we characterize such performance in the sphere of advanced capitalism and, further on, in the scope of Amerindian cultures. By such differentiation, we intend to better understand some deadlocks of critical thinking when facing different ways in which life has been currently creating and modulating itself through image.
Abstract: Amateur biopolitics: generalization of a practice, limits of a concept – In the current stage of capitalism, amateur images emerge as a paradigmatic production insofar as they reflect the dispute about the subjective and affective practices of consumers/spectators who have also become producers/collaborators. This paper discusses the biopolitical slant of this universe of images: the modulation strategies developed by companies and the modes of capitalization of life they engender. Our main goal is to discuss the concept of amateur, indicating its limits in face of contemporary practices of image production.
de várias partes do mundo permitiram a Faye Ginsburg
acompanhar a historicidade das questões interculturais
que se abrigam nas imagens, mas que as ultrapassam, exigindo
metodologia atenta ao que está visível na tela e também
ao que ocorre fora dela. Como defende a entrevistada,
a atenção aos processos de produção e de circulação das
imagens nos exige questionar a vocação de fluência e transparência
própria da tradição imagética ocidental e considerar
os protocolos de cada povo, muitas vezes construídos
sobre o que se deve ocultar, mais do que sobre o que se
deve revelar. Como se notará, a conversa extrapola as discussões
em antropologia visual, colocando em evidência
questões hoje cruciais, como aquelas em torno da mediação
cultural, da era digital, propriedade intelectual, da devolução
e reutilização dos arquivos étnicos.
Em seguida, desdobramos a hipótese de que, por meio da exposição do antecampo, o cinema indígena expressa, em mise-en-abyme, o engendramento entre cultura e “cultura”.
Aqui se busca um cinema da origem (diferente de um cinema das
origens), em cujo saber se abriga sempre um não-saber originário. Nós o encontraremos na tela em branco, nos modos diversos como ela surge em cada uma destas obras.
Pacific, a documentary film by Marcelo Pedroso, is made exclusively with images produced by tourists during a cruise to Fernando de Noronha, an island off the Brazilian coast. Through this strategy, the film shows, from the inside, a heterotopy characterized by the imperative of jouissance and performance of oneself. When the filmmaker receives these images which were not created for the film but yet freely handed to him by its makers, he finds himself before an impasse: by one hand, the question is not to adhere in an acritical manner to the universe constituted by the cruise; by the other hand, the critical position should not result from a gesture of excessive distance. Amongst the surplus of images and performances of oneself, oscillating between succeeding and missing it, the film seeks the fair distance.
From reality shows to personal web videos, from social networks to games, from documentary films to contemporary art experiences, ordinary life is being called, stimulated and provoked to participate and interact in a constant self-performance. Therefore images become a biopolitical place in which life forms perform. Facing that diagnosis, shared by other authors, this text proposes a conceptual map, still a work in progress, of a research program. In order to do so, we characterize such performance in the sphere of advanced capitalism and, further on, in the scope of Amerindian cultures. By such differentiation, we intend to better understand some deadlocks of critical thinking when facing different ways in which life has been currently creating and modulating itself through image.
Abstract: Amateur biopolitics: generalization of a practice, limits of a concept – In the current stage of capitalism, amateur images emerge as a paradigmatic production insofar as they reflect the dispute about the subjective and affective practices of consumers/spectators who have also become producers/collaborators. This paper discusses the biopolitical slant of this universe of images: the modulation strategies developed by companies and the modes of capitalization of life they engender. Our main goal is to discuss the concept of amateur, indicating its limits in face of contemporary practices of image production.
de várias partes do mundo permitiram a Faye Ginsburg
acompanhar a historicidade das questões interculturais
que se abrigam nas imagens, mas que as ultrapassam, exigindo
metodologia atenta ao que está visível na tela e também
ao que ocorre fora dela. Como defende a entrevistada,
a atenção aos processos de produção e de circulação das
imagens nos exige questionar a vocação de fluência e transparência
própria da tradição imagética ocidental e considerar
os protocolos de cada povo, muitas vezes construídos
sobre o que se deve ocultar, mais do que sobre o que se
deve revelar. Como se notará, a conversa extrapola as discussões
em antropologia visual, colocando em evidência
questões hoje cruciais, como aquelas em torno da mediação
cultural, da era digital, propriedade intelectual, da devolução
e reutilização dos arquivos étnicos.
Em seguida, desdobramos a hipótese de que, por meio da exposição do antecampo, o cinema indígena expressa, em mise-en-abyme, o engendramento entre cultura e “cultura”.
Aqui se busca um cinema da origem (diferente de um cinema das
origens), em cujo saber se abriga sempre um não-saber originário. Nós o encontraremos na tela em branco, nos modos diversos como ela surge em cada uma destas obras.