Abyss and apotheosis by Júlio Bressane: transcription movie theater

• Grant number: 12/51190-1
• Support Opportunities: Regular Research Grants - Publications - Books published in Brazil
• Start date: May 01, 2013
• End date: February 28, 2015
• Field of knowledge: Applied Social Sciences - Communications
• Principal Investigator: Jerusa de Carvalho Pires Ferreira
• Grantee: Jerusa de Carvalho Pires Ferreira
• Host Institution: Pró-Reitoria de Pós-Graduação (PRPG). Pontifícia Universidade Católica de São Paulo (PUC-SP). São Paulo , SP, Brazil

Abstract

Analyze the concept of transcription in Julio Bressane films conceding interactions between three kinds of language: painting, literature and music. The corpus consists of films from Brás Cubas (1985) to A Erva do Rato (2009). Timing to four of these films as a starting point and then commenting others, the purpose is to start by paintings, from Filme de Amor (2003); literature, from Miramar (1997); and the music, since O Mandarin (1995) and Days of Nietzsche in Turin (2002). Transcription was chosen a parsing support concept designed by Haroldo de Campos. It is proposed a certain debate with Henri Meschonnic questioning the passage of these languages to cinema and debate over the essays e about Julio Bressane films. Instead of analyzing scene by scene or to bring a reference movie, as occurs in most of the bibliography about the filmmaker, I propose a collation of sequences taken from a decoupage panel. The criterion for this division is not what paintings, literature and music means but what they build in order to the tone and rhythm of translations of signs to cinema. There is thus an approach alien to the bressanean poetics, which founds a concept and interrogates what may prove to be a cinema of transcription. (AU)