This work seeks an adequate definition of syncretism within the theoretical context suggested by dialogism. One of the issues examined here is the usual description of syncretism as a possible dialectical operation. This discussion also points to the use of syncretism in the analysis of cultural practices. In order to do that, it refers to the work of Mikhail Bakhtin as well as the writings by researchers of his oeuvre. KEYWORDS: Dialogism; Syncretism; Religion; Cultural Practices RESUMO DialogismDespite the currency the term dialogism has enjoyed in Bakhtinian theoretical works for the past few years, it would be wrong to attribute its coinage to Bakhtin. As a matter of fact, Bakhtin himself apparently did not use the term in any of his major works (HOLQUIST, 1990, p.15). He wrote at length, however, about the dialogue amongst utterances and discourses, and despite the focus of his analysis on literary works, his theory of the dialogue often suggests its applicability in other fields.According to Robert Stam, the fundamental freedom Bakhtin attributes to such an operation suggests a flexible use of his theories. It is this freedom that allows us to enunciate, for instance, a term such as "Bakhtinian dialogism" in order to grasp the scope of dialogical relations as described by Bakhtin (1989, pp.187-218).Michael Holquist goes further to envisage dialogue within the frame of dialogism; he stresses that "what gives dialogue its central place in dialogism is precisely the kind of relation conversations manifest" (1990, p.40), thus highlighting the interfacing dimension of dialogism. For Bakhtin, all discourses are in permanent interaction, an interaction which could be perceived as an infectious network of dialogues. Referring to dialogism in the context of a culture, Robert Stam clearly states that it refers in the broadest sense to the infinite and open-ended possibilities generated by all the discursive practices [...] the matrix of communicative utterances that "reach" the text not only through recognizable citations but also through a subtle process of dissemination (1989, p.190).
O objeto desta entrevista é mostrar a visão de Laura Mulvey acerca das inovações tecnológicas que o cinema, com ênfase na narrativa, vem sofrendo desde a publicação, em 1975, de “Visual Pleasure and Narrative Cinema”, chegando a um de seus últimos trabalhos, o livro Death 24x a Second: Stillness and the Moving Image (2005). Em meio à celebração dos 40 anos da publicacão daquele artigo, nesta entrevista, além de discutir seus trabalhos teóricos, também é traçada uma linha do tempo que inclui um de seus filmes mais comentados, Riddles of the Sphinx (1977) até seu último trabalho, codirigido com Mark Lewis, 23rd August 2008.
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