Recoveries of the Real. New Argentine and Brazilian Cinema in the Global Image-World

真实的恢复。

• 批准号: AH/F019939/1
• 负责人: Jens Andermann
• 金额: $ 6.1万
• 依托单位: Birkbeck, University of London
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF019939%2F1
• 关键词: Recoveries; Real.; New; Argentine; Brazilian

Brazilian Cinema da Retomada comprises a host of films made since 1994, when a change in government funding regulations induced a resurge in production numbers. Likewise, the emergence of Nuevo Cine Argentino around 1997 coincided with legal and political changes that widened financial and screening opportunities for non-commercial productions. Yet although virtually simultaneous, both moments of recovery intersect with different socio-economic temporalities and, thus, display a range of formal and thematic differences that provide an interesting field of comparison. Whereas the retomada in Brazil coincided with a period of economic stabilization after the catastrophic impact of President Collor's neoliberal reforms, the new Argentine cinema surfaced at the very peak of socio-economic catastrophe culminating in the constitutional crisis of 2001. Perhaps the most marked similarity between recent films from Argentina and Brazil is the way these have recovered cinema's capacity of observing (or, of staging the observation of) real worlds. Urban marginality, the post-rural spaces of the interior, the milieu of sexual minorities or the worlds of childhood and youth re-emerged before the lens in novel ways, turning cinema into a chronicler of the local effects of globalization. In addition, both Brazil and Argentina have witnessed a rise in documentary productions as well as a blurring of boundaries between the spheres, with fiction films making use of non-professional actors, real locations and archive footage, and documentaries of narrative editing and framing techniques. Throughout the funding period, the network will engage in intellectual exchanges including symposia, one-day workshops, lectures, and screenings accompanied by round-tables and Q&A sessions. Events will focus especially on engaging academic film scholarship in a dialogue with film professionals s.a. directors, scriptwriters or festival curators, so as to enhance the understanding of Latin American film's conditions of production and circulation.Events at Birkbeck will be incorporated into the Centre for Iberian and Latin American Visual Studies' (CILAVS) programme of activities, some taking place at the College's own Screen on Gordon Square, the University of London's prime film theatre. Similarly, events taking place at the project's international partner institutions will be embedded in their already existing provision of high-profile events and research centres in film and media studies, including Princeton University's Latin American Documentary Festival, organized by Ricardo Piglia and Andrés Di Tella, the Universidade Federal do Rio de Janeiro's Forum de Ciência e Cultura (FCC), co-ordinated by Beatriz Resende and Denilson Lopes, and the Universidad de San Andrés's Foro de Crítica Cultural, co-ordinated by Alvaro Fernández Bravo and Florencia Garramuño.The network will be structured around two international symposia. The first of these, taking place in London in the summer term of 2009, focuses on the comparison and critical balance of the cinematic 'recoveries' in Argentina and Brazil since the mid-1990s, and their complex and varied responses to situations of socio-political crisis; the second, taking place in Buenos Aires in the summer term of 2010, analyzes the various forms of crossover between fiction and the documentary in new Argentine and Brazilian film, the ways in which these recall and differ from the 'New Latin American Cinema' of the 1960s and 1970s, and the novel, 'trans-local' dialogues they entertain with other 'world' cinemas, for example in Asia or Eastern Europe. In addition to these two symposia, events involving participants of the network will be taking place at all four partner institutions, including smaller workshops, invited lectures, and other activities hosted by the film programmes and centres referenced above. We are in talks with local film institutions with a view to accompanying events with film screenings.

巴西Retomada电影院包括一系列自1994年以来制作的电影，当时政府资金规定的变化导致制作数量回升。同样，1997年左右，新阿根廷电影公司的出现恰逢法律和政治变化扩大了非商业制作的财务和放映机会。然而，尽管几乎是同时的，但这两个复苏时刻都与不同的社会经济暂时性交汇在一起，因此显示了一系列形式和主题上的差异，提供了一个有趣的比较领域。巴西的重演恰逢科勒总统的新自由主义改革带来灾难性影响后的经济稳定期，而阿根廷的新电影则是在社会经济灾难的顶峰时期浮出水面，最终导致2001年的宪法危机。阿根廷和巴西最近的电影之间最明显的相似之处可能是这些电影恢复了电影观察(或上演)真实世界的能力。城市边缘、内陆的后农村空间、性少数群体的环境或童年和青年的世界以新颖的方式重新出现在镜头前，将电影变成了全球化对当地影响的编年史。此外，巴西和阿根廷都见证了纪录片制作的增加以及领域之间界限的模糊，虚构电影使用非专业演员、真实地点和档案镜头，以及叙事剪辑和框架技术的纪录片。在整个筹资期间，该网络将进行智力交流，包括研讨会、为期一天的研讨会、讲座和放映，并伴随着圆桌会议和问答环节。活动将特别集中在学术电影奖学金与电影专业人士S.A.的对话中。比克贝克电影节的活动将被纳入伊比利亚和拉丁美洲视觉研究中心(CILAVS)的活动方案，其中一些活动将在学院自己的屏幕上举行，戈登广场是伦敦大学最重要的电影剧院。同样，该项目的国际合作机构所举办的活动也将纳入其现有的知名电影和媒体研究活动和研究中心，包括普林斯顿大学的拉丁美洲纪录片节(由Ricardo Piglia和AndréS Di Tella组织)、里约热内卢的联邦文化论坛(FCC)(由Betriz Resende和Denilson Lope协调)以及圣安德烈S大学的文化论坛(由Alvaro Fernández Bravo和Florencia Garramuño协调)。第一场于2009年夏季在伦敦举行，着重比较了阿根廷和巴西自1990年代中期以来的电影“复苏”，以及它们对社会政治危机局势的复杂和多样的反应；第二场于2010年夏季在布宜诺斯艾利斯举行，分析了阿根廷和巴西新电影中小说和纪录片之间的各种形式的交叉，这些电影让人回想起20世纪60年代和70年代的“新拉美电影”，并与小说“跨地区”对话，它们与亚洲或东欧等其他“世界”电影院的对话。除这两个专题讨论会外，还将在所有四个伙伴机构举办有网络参与者参加的活动，包括由上述电影方案和中心主办的小型讲习班、特邀讲座和其他活动。我们正在与当地的电影机构洽谈，以期在放映电影的同时配合活动。