Introdução ao dossiê temárico editado por Lúcia Nagib, Ramayana Lira de Sousa e Alessandra Soares Brandão.
Abstracth is article traces the emergence of a younger generation of Brazilian i lmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. One of the most prominent features in these recent works is a questioning of the status of the image, which vacillates between i ction and documentary without a point of resolution. h is vacillation can be understood in terms of the performative nature of i lms like h e Monsters, h e Residents, h e Earth Giveth, h e Earth Taketh and Avenida Brasília Formosa. Such i lms are centered around improvisations that open up the image to the real. h erefore, these i lms produce a space between i ction and documentary, between reality and artii ce that is productive and politically charged. h is article aims at discussing this "Brand New" Brazilian Cinema (Novísssimo Cinema Brasileiro) and the performative force of bodies in its af ective realism. No longer a referent for a sociological truth about Brazilian society, realism is taken as something that the image does, i. e., as an af ect that challenges the viewer's response-ability.
A noção de uma cidade dividida é o ponto de partida de A cidade é uma só? (2011), filme de Adirley Queirós, que aposta numa estratégia de borramento das fronteiras entre documento e ficção, tensionando-os numa trama de deslocamentos que os entretece, por um lado, com o movimento entre o passado – do contexto histórico da Brasília do início dos anos 70– e o presente da filmagem e, por outro, com o trânsito mesmo dos personagens pelo espaço. O filme desloca o seu centro de interesse para fora do centro, para personagens da periferia que são o contrapeso do povo dividido, da cidade dividida, mas o faz não somente para marcar suas disparidades; o que está em jogo é o movimento que procura romper os limites, que quer dissolver as linhas separadoras, atravessando-as no sentido que as perturba.
I do not read things; I read with things. When I read with theorists, with art, with a colleague or a friend, to read with is to cultivate a quality of attention to the disturbance of their alien epistemology, an experience of nonsovereignty that shakes my confidence in a way from which I have learned to derive pleasure, induce attachment and maintain curiosity about the enigmas and insecurities that I can also barely stand or comprehend. (Lauren Berlant, Sex, or the unbearable) Poucas situações ombreiam a pornografia na capacidade de problematizar o olhar de quem investiga. Ainda mais porque, tradicionalmente, a obra pornográfica pouco escapa a perspectivas moralizantes. Como já lembrava Susan Sontag em "A imaginação Pornográfica" (1987), a pornografia costuma ser não apenas patologizada mas também colocada em um tribunal da má consciência, ensejando um debate que extrapola a peleja sobre predileções estéticas. A natureza do debate tradicional sobre o pornográfico é diferente, por exemplo, da discussão acerca do realismo bazaniano que tanto defende o plano sequência em detrimento da montagem. Se contra ou a favor do realismo baziniano não evoca as consequências de caráter policialesco e judicial que a defesa da pornografia carrega. Dito isso, assumimos desde já uma posição propositiva e positiva em relação à pornografia por acreditarmos que seus excessos, desvios e problemas nos ajudam a compreender modos de olhar e produzir imagens e a mapear espectatorialidades insuspeitadas. Assim procedendo, acreditamos estar defendendo não exatamente a pornografia, mas o próprio pensamento dos limites impostos pelo senso comum da normalidade e moralidade.
Your book Carnal Resonance: Affect and Online Pornography proposes a move beyond the binary affect x representation. You say that "critique "after representation" is difficult to tell apart from studies of representation" (p. 10). Do you think that this rejection of the opposition between representation and affect suggests a methodology for porn studies in general? Or to put it more broadly, how can we best "read" porn?I would say that a rejection of the binary -which I think is to a degree a false onepoints towards a methodology for porn studies, and maybe also for media studies more generally. Contemporary media, in my country as well as elsewhere, works explicitly through forms of "affective address" in the sense of foregrounding the personal, the intimate, the embodied and the emotional in entertainment programming and news features alike. Online newspapers share links to both cute and shocking links in order to attract clicks, reality television recurrently foregrounds individual bodies and feelings, ISIS releases execution videos for visceral effect, etc. In order to understand how and why all this works, it is necessary to pay affect some kind of analytical attention.As Richard Dyer argued some time ago, the power of popular culture is dependent on its power to move us. The question, or at least one of the questions, therefore is how are we moved, what does this involve and affect, in concrete ways. This seems particularly pertinent in studies of porn, which, as a genre, aim to evoke sensory responses, which recurrently evoke strong reactions and political arguments both for and against, and the imageries of which are explicitly fleshy and even visceral. Studies of porn to date have to a large degree conceptualized the genre as a cultural metaphor and symbol, often for mutually incompatible things (i.e., violence against women, sexual liberation, working-class resistance to ourgeois morals… In addition, scholars, myself included, have focused on the representational, such as the ways in which social categories such as gender, race and class are depicted, and what kinds of hierarchies or relations of control pornography includes.The problem here, for me, lies in that the aesthetics of porn tend to operate through exaggeration and hyperbole. Things are not subtle but explicit.
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