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Limited By:	Subject = Intermediality;

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Building an integrated history of musical numbers in Brazilian chanchadas (2020)

Cesarino Costa, Flávia

Building an integrated history of musical numbers in Brazilian chanchadas (2020)

Cesarino Costa, Flávia

Abstract:

This article discusses industrial and aesthetical aspects of the musical numbers in 1950s Brazilian chanchadas. The chanchadas were a body of films made between the 1930s and 60s, that combined a mixed style derived from domestic influences of radio and popular music routines and from local forms of comic theatrical revues. I propose an examination of the entertainment industry’s influence on the musical numbers chosen for these 1950s chanchadas. This intermedial approach is based on the strong links between cinema and other cultural practices. I will argue the need to take into account not only theatrical practices, but also the routines of carnival culture, as well as the music industry and radio performances, in order to reconsider longstanding historical accounts based on the specificity of film media.

http://hdl.handle.net/10468/10301

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Chanchadas and intermediality: On the musical numbers of Aviso aos navegantes (Watson Macedo, 1950) (2020)

Cesarino Costa, Flávia; Gibbs, John

Chanchadas and intermediality: On the musical numbers of Aviso aos navegantes (Watson Macedo, 1950) (2020)

Cesarino Costa, Flávia; Gibbs, John

Abstract:

This audiovisual essay investigates the intermedial nature of Brazilian film comedies produced during the 1940s and 50s by exploring the musical numbers of Aviso aos navegantes (Calling All Sailors, Watson Macedo, 1950). Brazilian cinema of this period is a privileged arena of different media strategies. Its “mixed” style is informed by Hollywood cinema but also by the domestic influence of radio, Carnival, and by the local forms of comic staging of the teatro de revista (the Brazilian equivalent of music hall or vaudeville). Of particular interest in this regard are the chanchadas, a body of films made between the mid-1930s and the early 1960s, that presented musical performances intertwined with comic situations, slender narrative lines and strong connections with the world of Carnival. Our aim is to show how the relationships between the different forms of cultural production in 1950s Brazil can be identified in a specific chanchada, opening a dialogue between musical performance...

http://hdl.handle.net/10468/10300

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Cinema and its intermedial passages to reality: The case of the Árido Movie (2020)

Paiva, Samuel

Cinema and its intermedial passages to reality: The case of the Árido Movie (2020)

Paiva, Samuel

Abstract:

This article examines the development process of the documentary film Passages: Travelling in and out of Film through Brazilian Geography (Lúcia Nagib and Samuel Paiva, 2019) that emerged from a research project on intermediality and cinema. Passages uses an intermedial perspective to approach films which have been produced in Recife and São Paulo since the beginning of the Retomada do Cinema Brasileiro (Brazilian Film Revival) in the mid-1990s, and analyses their connections with other media. Particular focus is given to works created in Recife within the Árido Movie movement, such as Baile perfumado (Perfumed Ball, Paulo Caldas and Lírio Ferreira, 1996), which unveils a whole set of intermedial connections between cinema and music.

http://hdl.handle.net/10468/10296

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Documentary shooting and samba: Technology and mediation in Leon Hirszman’s Partido alto (2020)

Elduque, Albert

Documentary shooting and samba: Technology and mediation in Leon Hirszman’s Partido alto (2020)

Elduque, Albert

Abstract:

This article addresses the film Partido alto (Leon Hirszman, 1976–1982), a Brazilian music documentary that showcases two sessions of partido-alto, a traditional, improvisation-based genre. The film highlights a separation between the diegetic music world, which is based on improvisation, and the technical approach to register it. First, it foregrounds the process of recording popular music through the noticeable presence of a microphone that strives to follow each singer’s unpredictable interventions. Then, the young professional singer Paulinho da Viola joins in on the performance with nonprofessional singers, working as a mediator between the official music scene and popular traditions. I suggest that, by using cameras and microphones to approximate a popular, nonrecorded form of art, the film raises some crucial issues in the history of samba. In particular, the ways in which cinematic techniques such as the sequence shot and voiceover are employed in the film allows us to refl...

http://hdl.handle.net/10468/10298

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Experimental polyphony: on the media ecological research of intermediate bodies (2018)

Fetzner, Daniel; Dornberg, Martin

Experimental polyphony: on the media ecological research of intermediate bodies (2018)

Fetzner, Daniel; Dornberg, Martin

Abstract:

Our media-artistic performances and installations, INTERCORPOREAL SPLITS (2010-2013), BUZZ (2014-2015), WASTELAND (2015-2016), as well as our new collaboration with Bruno Latour, DE\GLOBALIZE (2018-2020), are not just about polyphony. Here, however, we rediscover them under this heading, thus giving them a new twist, while mapping out issues, mechanisms and functional modes of the polyphonic.

http://hdl.handle.net/10468/7098

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General editor's note (2020)

Rascaroli, Laura

General editor's note (2020)

Rascaroli, Laura

http://hdl.handle.net/10468/10303

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Performing the intermedial across Brazilian cinema (2020)

Courage, Tamara; Elduque, Albert

Performing the intermedial across Brazilian cinema (2020)

Courage, Tamara; Elduque, Albert

Abstract:

Intermediality as a theoretical and methodological perspective champions impurity. Overall, it is concerned with the interaction, contamination, and mixture between different media, breaking down existing barriers that currently exclude hybrid forms of artistic expression, which also inevitably exposes the limits of media specificity. Musical performance constitutes a privileged space to reflect on intermediality. It brings in not only music, but a mixture which includes literature, theatre, dancing and even painting and architecture. Music performance calls for all these artistic practices and articulates them through the song. Then, when it is filmed by a camera and recorded with microphones to be exhibited on a screen, new layers of meaning are added. This Alphaville issue is concerned with the performance of the intermedial in Brazilian cinema through music performance. It is an output of the project “Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality a...

http://hdl.handle.net/10468/10302

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Vincent Moon in(-between) Brazil: An aural approach to intermediality (2020)

Araújo de Siqueira, Matheus

Vincent Moon in(-between) Brazil: An aural approach to intermediality (2020)

Araújo de Siqueira, Matheus

Abstract:

This article discusses how films by Vincent Moon which feature Brazilian musicians illustrate and expand on the notion of in-betweenness in intermediality. At the core of his work is a shift from an optical to an aural approach in filmmaking in which the director becomes more akin to someone who improvises together with the singer and, by doing so, takes the performance into an unpredictable zone. Central to this objective is a method on how to balance the in-between meaning and chaos. Finally, the article questions if such an approach connects to Ágnes Pethő’s remapping of intermedial studies.

http://hdl.handle.net/10468/10295