Aesthetic of improvisation in periphery’s cinema

Authors

  • Gustavo Souza USP

DOI:

https://doi.org/10.15448/1980-3729.2012.2.11005

Keywords:

Cinema of the periphery, aesthetic, improvisation

Abstract

The analysis of the documentary Super gato contra o apagão (Kinoforum, 2002) and Como se rouba a cena no cinema (Kinoforum, 2006) reveal a significant presence of improvisation – the making, the production conditions of existence – that is what we’ll call the aesthetics of improvisation, an important aesthetic feature film production in the periphery. This discussion is anchored in Mikhail Bakhtin´s concept of aesthetics. When considering the aesthetic activity as part of a whole socio-historical circumscribed, the author points to two aspects: the rejection of the idea of “art for art’s sake” and the refusal of artistic production as a mere reflection of the filmmaker´s psychic and subjective activity. This postulate is beneficial, therefore, to understand the aesthetic organization in films made in outlying communities.

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Author Biography

Gustavo Souza, USP

Doutorando em Ciências da Comunicação pela ECA/USP. Mestre em Comunicação e Cultura pela ECO/UFRJ. Graduado em Comunicação Social/Jornalismo pela UFPE. Organizador do IX Estudos de Cinema Socine (Annablume, 2008) em parceria com Esther Hamburger e Tunico Amancio.

References

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Published

2012-10-08

How to Cite

Souza, G. (2012). Aesthetic of improvisation in periphery’s cinema. Revista FAMECOS, 19(2), 530–542. https://doi.org/10.15448/1980-3729.2012.2.11005

Issue

Vol. 19 No. 2 (2012)

Section

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