AHRC-FAPESP MoU - Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method

该项目将关注电影作为艺术和媒体的混合体的本质，以创造巴西电影的第一个开创性的中间历史。它还将探索使用中间性作为一种史学方法适用于电影作为一个整体。为此，它将汇集雷丁大学（UoR）和<s:1>奥卡洛斯联邦大学（UFSCAR）的学者，以及3个PDRA，结合电影中间媒介（纳吉布，Araújo，巴特勒，佩瓦，雷克米兰达，PDRA 2），巴西电影（纳吉布，Araújo，切萨里诺科斯塔，佩瓦，雷克米兰达，PDRA 1和3），电影史（Araújo，切萨里诺科斯塔，PDRA 2），电影理论（纳吉布，巴特勒，Purse，吉布斯），电影和音乐（雷克米兰达，佩瓦，PDRA 3），电影和戏剧(吉布斯，电影和视觉艺术（Butler, PDRA 1）以及电影和流行文化（Purse, PDRA 1 & 3）。中间性从未作为一种史学方法应用于电影，而在这个项目中，这是一种完全原创和有前途的途径。从广义上讲，“中间性”是指艺术和技术媒介形式的杂交。在这个项目中，它将用来表明电影的混合性质，并为那些混合性特别显著的电影现象提供最重要的位置。重点将是巴西电影，它从早期开始就结合了电影以外的艺术和文化形式，从而形成了一种原始的美学融合。来自戏剧、歌剧、舞蹈、音乐、马戏团、广播、电视和造型艺术的艺术家们在这个国家的电影制作中留下了独特的印记，在以下实践中显而易见：20世纪20年代的电影序言；20世纪40 -60年代的chanchada音乐喜剧；20世纪50年代Maristela、multifilms和Vera Cruz工作室的作品；Tropicália电影输出，跨越20世纪60年代至80年代；九十年代árido电影制作；以及当代音乐电影的浪潮。调查人员将对这些时期进行深入的档案和电影研究，并采访相关艺术家和专家，以证实这样一个前提，即这些混合现象打破了本土和外来传统、高雅文化和流行文化、被动和主动观众、“古典”和“现代”叙事形式之间的界限，构成了一个卓越的艺术和社会表达的民主空间。巴西电影具有战略性和时效性，可以展示中间方法的优势。巴西目前的经济优势证明了传统方法的缺点，例如社会学模型，它依赖于帝国主义和殖民占领的问题，导致Salles Gomes曾经称之为“不发达的轨迹”，这是巴西电影史的提议。电影研究作为一个整体，需要一个富有成效的替代进化论观点，将“现代性”假设为电影史上的美学或政治顶峰。中间性将使我们能够平等地放置各种风格和类型，而不是将某些形式置于其他形式之上，从而形成一个万花筒，准确反映一个国家电影的文化丰富性和政治复杂性。该项目将有利于学者和研究人员，他们愿意找到新的方法来理解电影历史，而不是进化和等级制度。两本编辑过的书将在“走向巴西电影的中间历史”和“电影的运动形式：作为一种史学方法探索中间性”会议之后出版。其他产出将包括12本书章节和30多篇期刊文章。该项目还将通过由PDRAs协调并附带全面目录的影响活动使公众受益：在泰特现代美术馆举办Tropicália电影季；《电影序曲》在巴西电影中心和雷丁电影剧院重新上演；以及在雷丁电影剧院举办的巴西音乐电影季。

This project will focus on cinema's nature as a mixture of arts and media in order to produce the first, groundbreaking intermedial history of Brazilian cinema. It will also explore the uses of intermediality as a historiographic method applicable to cinema as a whole. To that end, it will bring together scholars from the University of Reading (UoR) and the Federal University of São Carlos (UFSCAR), as well as 3 PDRAs, combining expertise in cinematic intermediality (Nagib, Araújo, Butler, Paiva, Reck Miranda, PDRA 2), Brazilian cinema (Nagib, Araújo, Cesarino Costa, Paiva, Reck Miranda, PDRAs 1 & 3), film history (Araújo, Cesarino Costa, PDRA 2), film theory (Nagib, Butler, Purse, Gibbs), film and music (Reck Miranda, Paiva, PDRA 3), film and theatre (Gibbs, PDRA 3), film and visual arts (Butler, PDRA 1) and film and popular culture (Purse, PDRAs 1 & 3). Intermediality has never been applied to cinema as a historiographic method, which is being proposed in this project as an entirely original and promising avenue. Broadly speaking, 'intermediality' refers to the interbreeding of artistic and technical medial forms. In this project, it will be used both to indicate film's mixed nature and to give pride of place to those film phenomena in which hybridity is particularly notable. The focus will be Brazilian cinema, which from its early days has combined extra-filmic artistic and cultural forms, resulting in an original aesthetic blend. Artists coming from theatre, opera, dance, music, circus, radio, television and the plastic arts left a distinctive mark on film production in the country, apparent in practices such as: the 1920s movie prologues; the chanchada musical comedies of the 1940s-60s; the 1950s productions from the studios Maristela, Multifilmes and Vera Cruz; the Tropicália cinematic outputs, spanning the 1960s-80s; the 1990s árido movie production; and the contemporary wave of music films. The investigators will conduct intensive archival and filmographic research on these periods, as well as interviews with relevant artists and experts, so as to substantiate the premise that these hybrid phenomena break the boundaries between local and imported traditions, high and popular cultures, passive and active spectatorship, 'classical' and 'modern' narrative forms, constituting a democratic space par excellence for artistic and social expression. Brazilian cinema is strategically and timely placed to demonstrate the advantages of the intermedial method. Brazil's current economic ascendance evidences the shortcomings of traditional approaches, such as the sociological model, hinging on questions of imperialism and colonial occupation leading to what Salles Gomes once termed 'a trajectory in underdevelopment' a propos of the history of Brazilian cinema. Film studies as a whole are in need of a productive alternative to evolutionist views which posit 'modernity' as an aesthetic or political pinnacle in film history. Rather than privileging some forms over others, intermediality will allow us to place a variety of styles and genres on an equal footing, resulting in a kaleidoscope that accurately reflects a national cinema's cultural richness and political complexity.The project will benefit academics and researchers willing to find new ways of understanding film history away from evolutionary and hierarchical schemes. Two edited books will ensue from the conferences 'Towards an Intermedial History of Brazilian Cinema' and 'The Moving Form of Film: Exploring Intermediality as a Historiographic Method'. Other outputs will include 12 book chapters and more than 30 journal articles. The project will also benefit the general public through impact events coordinated by the PDRAs and accompanied by comprehensive catalogues: a Tropicália Film Season at Tate Modern; re-stagings of the Movie Prologues at the Cinemateca Brasileira and the Reading Film Theatre; and a Brazilian Music Film Season at the Reading Film Theatre.