Frames of the body and labor after May 1968 (cinema and literature)

• Grant number: 17/02248-0
• Support Opportunities: Scholarships abroad - Research
• Start date: August 01, 2017
• End date: January 08, 2018
• Field of knowledge: Linguistics, Literature and Arts - Arts - Cinema
• Principal Investigator: Ana Paula Sá e Souza Pacheco
• Grantee: Ana Paula Sá e Souza Pacheco
• Host Investigator: Christian Louis Arthur Laval
• Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil
• Institution abroad: Université Paris Ouest Nanterre La Défense (Paris 10), France

Abstract

This project aims to study the literary and film forms of the aesthetics and political issues derived from May 1968, concerning the representation of intellectual and manual labor. The research focuses on the exam of the disputes of meaning, ambiguities and mainly in the contemporary results of the insurgent movement of May/June 1968, by the formal analysis of a crucial moment in 20th and 21th century culture. We plan to work in two fronts: 1) in archival research, in order to understand the and artistic legacies of 1968 insurgencies (fundamentally, the archives will give access to reviews rarely accessible in Brazil, as Cinétique and Cahiers du cinema, to films made by activists in that period, developing new reflections about art, labor and knowledge); 2) the second front of research aims to analyze films concentrated on the issues of labor, made around 1968 and in the neoliberal times, in order to grasp the transition between its achievements and the establishment of neoliberalism as a corpus of ideas (mainly the films made by "Dziga Vertov" and "Medvedkine" groups, and recent films made by brothers Dardenne and by Harun Farocki, about labor nowadays). After the period in France, the horizon of our research is to compare these films with Brazilian films and novels made in the same periods, penetrated by metaphors of the body, regarding the separation between intellectual and manual labor after the Dictatorship AI-5 (1968) and also regarding the neoliberal imperative of incessant enjoyment. The objective is to think how two different contexts can illuminate each other, with continuities and ruptures in the artistic representations of the years 1968 to present time. (AU)