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

该项目将专注于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部开创性的中间历史。它还将探索中间性作为一种适用于整个电影的史学方法的使用。为此，它将汇集来自雷丁大学(UOR)和S·卡洛斯联邦大学(UFSCAR)的学者以及3个PDRA，结合了电影中介(Nagib、Araújo、Butler、Paiva、Reck Miranda、PDRA 2)、巴西电影(Nagib、Araújo、Cesarino Costa、Paiva、Reck Miranda、PDRA 1和3)、电影史(AraúJo、Cesarino Costa、PDRA 2)、电影理论(Nagib、Butler、Purse、Gibbs)、电影与音乐(Reck Miranda、Paiva、PDRA 3)、电影与戏剧(Gibbs、PDRA 3)、电影与视觉艺术(Butler、Cesarino Costa、PDRA 2)、电影理论(Nagib、Butler、Purse、Gibbs)、电影与戏剧(Gibbs、PDRA 3)、电影与视觉艺术(Butler、Cesarino Costa、PDRA 2)、电影与音乐(Reck Miranda、Paiva、PDRA 3)、电影与戏剧(Gibbs、PDRA 3)、电影与视觉艺术(Butler、Cesarino Costa、PDRA 2)、电影理论(Nagib、Butler、Purse、Gibbs)、电影与戏剧(Gibbs、PDRA 3)、电影与戏剧(Gibbs、PDRA 3)、电影与视觉艺术(Butler、Cesarino Costa、PDRA 2)、电影理论(Nagib、Butler、Purse、Gibbs)、电影与戏剧(Gibbs、PDRA 3PDRA1)和电影和流行文化(钱包，PDRA1和3)。中间性从未作为一种史学方法应用于电影，这是本项目提出的一种完全原创的和有前途的途径。从广义上讲，“媒介”指的是艺术媒介形式和技术媒介形式的杂交。在这个项目中，它将被用来表明电影的混合性，并将那些混合特别显著的电影现象放在首位。焦点将是巴西电影，它从早期就将电影外的艺术和文化形式结合在一起，产生了一种原创的美学融合。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在该国的电影制作上留下了独特的印记，这体现在以下做法上：20世纪20年代的电影开场白；20世纪40-60年代的Chanchada音乐喜剧；20世纪50年代的Maristela、MultiFilmes和Vera Cruz制片厂的作品；跨越20世纪60-80年代的Tropicália电影制作；90年代的电影制作；以及当代音乐电影浪潮。调查人员将对这些时期进行深入的档案和摄影研究，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当地传统和外来传统、高雅文化和大众文化、被动和积极的旁听、“古典”和“现代”叙事形式之间的界限，构成了一个民主空间，在艺术和社会表达方面堪称卓越。巴西电影处于战略和及时的位置，可以展示中介方法的优势。巴西目前的经济增长证明了传统方法的缺陷，比如社会学模型，它取决于帝国主义和殖民占领的问题，导致了萨莱斯·戈麦斯(Salles Gomees)曾经所说的不发达轨迹，这是巴西电影史的命题。作为一个整体，电影研究需要一个富有成效的替代方案，而不是进化论观点，后者认为“现代性”是电影史上的一种审美或政治巅峰。中介性不是将某些形式置于另一些形式之上，而是允许我们将各种风格和流派放在平等的基础上，从而产生一个万花筒，准确地反映一个国家电影的文化丰富性和政治复杂性。该项目将有利于愿意寻找新的方法来理解电影史的学者和研究人员，而不是进化和等级制度。会议将出版两本编辑过的书：《走向巴西电影的中间历史》和《电影的移动形式：探索中间作为一种史学方法》。其他产出将包括12本书的章节和30多篇期刊文章。该项目还将通过PDRA协调并配有全面目录的影响活动惠及广大公众：在泰特现代美术馆举办的特洛皮亚电影季；在巴西莱拉电影院和雷丁电影院重演电影序曲；在雷丁电影院举办巴西音乐电影季。

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.