Literatura científica selecionada sobre o tema "Transe – Au cinéma"

In this article, conceived of in an epistemological perspective, film history and history of psychology intersect in order to show how subject models are circulating around 1900 which are impregnated with scientific culture and social modernity.These models have the special quality of being defined first in pathological terms because they result from a diagnosis of the evils caused by the new industrial and capitalist society. However, the position required by the cinematic apparatus produces a spectator who is described as a subject-machine with the particular psychophysiological states that precisely concern the neurotic, the paramnesiac and the sleepwalker. If our point is to show how close the (para)medical and cinematic subjects are, we will also try to see how far cinema interacts with phenomena related to urbanity and other developments of Western civilisation, the latter being considered as a transforming agent of the psychic apparatus.

L’ambition de cet article est de proposer une lecture d’Annihilation à l’orée des théories féministes, et sur la science-fiction populaire, Donna Haraway, Christine Cornea et Vivian Sobchack parmi d’autres, ainsi que d’utiliser la « rime » comme nouvel outil de conceptualisation de la référence au cinéma. Le film d’Alex Garland propose un épissage à la fois de créatures et de thèmes chers aux films à la croisée de la science-fiction et de l’horreur, tels qu’Alien et The Thing. Une lecture de ces références et leur nature unique nous permet de dégager une définition singulière de la science-fiction.

A importância do cinema para os estudos históricos foi, e ainda é, objeto de discussão entre os historiadores, especialmente os que o reconhecem como uma fonte histórica. Considerando tal relevância à História, o objetivo deste artigo é realizar uma análise fílmica de obras que foram submetidas ao exame censório no decurso da ditadura militar brasileira, a saber: i) Terra em Transe (1967), de Glauber Rocha; ii) Iracema, uma Transa Amazônica (1976), de Jorge Bodanzky e Orlando Senna; iii) Pra Frente, Brasil (1982), de Roberto Farias; e iv) Cabra Marcado Para Morrer (1984), de Eduardo Coutinho. Para tanto, nos baseamos metodologicamente na perspectiva da História Comparada (BLOCH, 1998, p. 111 - 118; BARROS, 2007, 2013, p. 156 - 179), a qual nos permite relacionar as dimensões política, econômica, cultural e social, no contexto da ditadura militar, aos filmes selecionados, destacando as semelhanças e as diferenças entre eles e a sociedade em que estão inseridos. Assim, comparamos as produções fílmicas entre si e o regime ditatorial em questão, permitindo-nos compreender não só os filmes per se, mas também a complexidade da conjuntura durante o pós-1964.

This text seeks to explore the Argentine films Castro (Alejo Moguillansky, 2009) and El asaltante (Pablo Fendrik, 2007) from within the displacement of their characters through the city. This transit configures the organising element of the plots, determining the direction and rhythm of events. The escape motto will structure the film analyses, which are also twinned by the sensory apprehension that comes from the spaces they travel through. The notion of escape, as explored by Esteban Dipaola in Argentine cinema of the 1990s, continues to throb in mid-to-late 2000s production, and in these films represents the means by which the protagonists deploy critical attitudes—sometimes radical and explosive, sometimes silent—in the face of fixed notions, suggesting some scepticism about the “stability” and “order” that they (dis)encounter in normality. RESUMEN Este texto busca explorar los largometrajes argentinos Castro (Alejo Moguillansky, 2009) y El asaltante (Pablo Fendrik, 2007) a partir del desplazamiento de sus personajes por la ciudad. El transitar se configura como elemento organizador de las tramas, determinando la dirección y el ritmo de los acontecimientos. El tema de la fuga irá estructurando los análisis de las películas, las cuales también están relacionadas por la aprehensión sensorial que hacen de los espacios que recorren. La noción de fuga, tal y como fue explorada por Esteban Dipaola en el cine argentino de los años 90, continúa vigente en la producción de mediados/fines de la primera década del siglo XXI, y en estas películas es el recurso por medio del cual los protagonistas despliegan actitudes críticas – a veces radicales y explosivas, y a veces silenciosas – frente a nociones convencionales, lo cual hace pensar que existe un cierto escepticismo con relación a la “estabilidad” y al “orden” que ellos (des)encuentran en la normalidad. RESUMO Este texto busca explorar os longas-metragens argentinos Castro (Alejo Moguillansky, 2009) e El asaltante (Pablo Fendrik, 2007) a partir do deslocamento de seus personagens pela cidade. O transitar configura-se como elemento organizador das tramas, determinando a direção e o ritmo dos acontecimentos. O mote da fuga estruturará as análises dos filmes, os quais também se irmanam pela apreensão sensorial que fazem dos espaços que percorrem. A noção de fuga, conforme explorada por Esteban Dipaola no cinema argentino da década de 1990, continua a pulsar na produção de meados/fins dos anos 2000, e é, nestes filmes, o recurso através do qual os protagonistas desdobram atitudes críticas – às vezes radicais e explosivas, às vezes silenciosas – diante de noções fixas, sugerindo certo ceticismo em relação à “estabilidade” e à “ordem” que eles (des)encontram na normalidade.

Discussão da relação entre o discurso estético de Glauber Rocha em dois filmes do Cinema Novo - Terra em transe e Deus e o Diabo na Terra do sol – e sua contribuição no pensar cinematográfico e na busca de uma identidade nacional.

Glauber Rocha se destacou no cenário cinematográfico participando do movimento Cinema Novo. Desde então, o cinema brasileiro produziu milhares de filmes, porém esse diretor continua chamando a atenção de espectadores e estudiosos de diversos campos. Foi a partir de experiências com o filme Terra em Transe, em pleno século XXI, que começamos a deslindar o papel que a produção ocupou em nossa história, em aspectos tanto políticos como estéticos e técnicos. Portanto, neste artigo, analisaremos o filme a partir de uma perspectiva histórica.

O cinema de Glauber Rocha pode ser pensado como um precursor da vídeopoesia e dos espetáculos poéticos multimídia que, como fruto do mercado e das tecnologias finisseculares, preferem estimular uma sensibilidade baseada na recepção coletiva, crítica e reflexiva do discurso poético. Pertencentes à linhagem barroca brasileira, o ceneasta e seus pares da poesia investem na composição de obras que circulam no transe das nações e das linguagens. Nesse trajeto, inventam novos gêneros e formas, e demonstram que há uma relação direta entre a produtividade da tradição literária brasileira e sua abertura ao diálogo com outros objetos culturais.

O cinema de Glauber Rocha pode ser pensado como um precursor da vídeopoesia e dos espetáculos poéticos multimídia que, como fruto do mercado e das tecnologias finisseculares, preferem estimular uma sensibilidade baseada na recepção coletiva, crítica e reflexiva do discurso poético. Pertencentes à linhagem barroca brasileira, o ceneasta e seus pares da poesia investem na composição de obras que circulam no transe das nações e das linguagens. Nesse trajeto, inventam novos gêneros e formas, e demonstram que há uma relação direta entre a produtividade da tradição literária brasileira e sua abertura ao diálogo com outros objetos culturais.

Partindo da programação do 'Foco Marlene', que teve lugar entre 21 e 30 de outubro de 2020, no Teatro Municipal do Porto, pensamos as relações entre a obra coreográfica de Marlene Monteiro Freitas e um certo imaginário cinematográfico onde bebe, imbricando este processo com as ideias de transe e memória.

O foco deste artigo é o uso do cinema enquanto “reflexo” de uma sociedade e encarado enquanto produto cultural brasileiro. Busca-se refletir sobre como o cinema pode funcionar em sala de aula do Ensino Médio enquanto gerador de informações sociais, históricas e culturais de uma época não vivida pelos estudantes. Os objetos de análise deste escrito serão os filme Terra em transe, Macunaima e Bye bye Brasil, já que estes filmes se relacionam diretamente ao movimento Tropicalista, algo que os estudantes do Ensino Médio atual não chegaram a vivenciar. Encarando o cinema enquanto produto da cultura de um país, os estudantes poderão melhor compreender quais os elementos que nos marcam enquanto brasileiros e como o cinema brasileiro pode ajudar no entendimento da formação da identidade cultural de seu próprio país.

Cette recherche se concentre sur le travail de cinéastes contemporains dont la pratique artistique reprend l'un des thèmes centraux du cinéma ethnographique : le phénomène de la transe. Des artistes tels que Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak et Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective et Patti Smith (Illuminations, 2018) ou Susana de Sousa Dias (Fordlandia Malaise, 2019), explorent de nouvelles voies de recherche ethnographique à travers le cinéma expérimental. Bien que relativement éloignés dans leurs champs d'expérimentation respectifs, ces artistes abordent différentes dimensions de la transe dans un même esprit de découverte. Pour ce faire, ils ont principalement recours à l'invention formelle et aux processus de production et de distribution en dehors de l'industrie cinématographique. Les œuvres de ces artistes relèvent d’une approche spécifique du cinéma et se caractérisent par l’utilisation de la pellicule (Super 16mm, 16mm, Super 8 et 8mm), l’exploration des particularités de la perception, le dédain pour les formats numériques standardisés et l’utilisation des pouvoirs du son et de la musique pour créer une expérience sensorielle. En outre, dans ces œuvres, nous voyons comment les cultes de transe dans le monde contemporain, pour la plupart populaires, continuent de résister à la subordination aux systèmes religieux. Dans de nombreux cas, les formes de transe de ces cultes trouvent de fortes résonances avec les mythes, la poésie et la musique de traditions qui s'écartent de l'orthodoxie religieuse. Ainsi, le caractère marginal et parfois transgressif de ces pratiques, par rapport aux religions institutionnelles, leur confère souvent une dimension subversive et libertaire. Ce travail de recherche utilise une méthode interdisciplinaire et interroge la relation entre ce groupe de films et l'ethnomusicologie, l'ethnographie de la possession, le cinéma ethnographique et le cinéma expérimental
This research focuses on the work of contemporary filmmakers whose artistic practice takes up one of the central themes of ethnographic cinema: the phenomenon of trance. Artists such as Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak & Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective & Patti Smith (Illuminations, 2018) and Susana de Sousa Dias (Fordlândia Malaise, 2019), explore new avenues of ethnographic research through experimental film. Although relatively distant in their respective fields of experimentation, these artists approach different dimensions of trance in the same spirit of discovery. To do so, they mainly resort to formal invention and to production and distribution processes outside the film industry. The works of these artists have a specific approach to cinema and are characterized by the use of film (Super 16mm, 16mm, Super 8 and 8mm), the exploration of the particularities of perception, the disdain for standardized digital formats and the use of the powers of sound and music to create a sensory experience. Furthermore, in these works we see how trance cults in the contemporary world, mostly popular, continue to resist subordination to religious systems. In many cases, the trance forms of these cults find strong resonances with the myths, poetry, and music of traditions that depart from religious orthodoxy. Thus, the marginal and sometimes transgressive character of these practices, in relation to institutional religions, often gives them a subversive and libertarian dimension. This research work uses an interdisciplinary method and questions the relationship between this group of films and ethnomusicology, the anthropology of possession, ethnographic cinema and experimental cinema

Dans les annees 60 le cinema novo bresilien a occupe en france une place particuliere parmi les nouveaux cinemas. Cela fut rendu possible par la promotion de ce mouvement accomplie par certains critiques des revues cinematographiques specialisees. Les revues rendirent possible l'attribution d'une valeur culturelle aux oeuvres du cinema novo, permettant ainsi sa reconnaissance en tant qu'invention d'une conception originale du cinema. Les interpretations du cinema novo ont ete reperees a travers les textes parus dans les revues. L'orientation du travail est surtout historique et socioculturelle. On y esquisse une methode pour rendre compte des particularites des situations de communication etudiees sans pour autant engager une etude des medias ou une etude semiolinguistique (bien qu'on utilise certaines procedures relevant de ces disciplines). Ce travail demontre d'abord comment la circulation des idees a permis la conception d'un modele culturel pour le cinema novo. Ce modele fut elabore a partir d'une recherche de significations communes, suggerant une correspondance des codes entre les cultures francaise et bresilienne, et il fut legitime a partir des accords ideologiques prealables etablis entre les partenaires de ce processus. On demontre ensuite que le cinema novo, pour etre convaincant comme modele de cinema social et politique convenant aux besoins de la critique francaise et aux strategies promotionnelles qu'elle convoque, jouait des roles determines par les a priori redactionnels des revues, roles dont le principal fut celui de substitut du neorealisme italien et de la nouvelle vague francaise
In the 1960s, as a result of the promotional movement carried out by critics writing for specialised cinema periodicals, the brazilian cinema novo held a privileged position among the new cinemas. Those periodicals provided the means through which the cinema novo films were given their particular cultural value. As a consequence, this body of films gained recognition as a movement that created an innovative conception of film-making. The interpretations of the cinema novo propounded were elaborated form the observation of the discursive reality perceptible in the periodicals. The approach given to the present work is mostly a historical and socio-cultural one. An analytical method has been draw up in order to account for the particularities of the communication categories examined. However it is neither a media or a semiological and linguistic study, even though both these domains have provided useful techniques. Firstly, this study shows how the spread of ideas produced a cultural model for the cinema novo based on the research of signs common to both the french and the brazilian cultures, so that a pattern off corresponding codes uniting these two cultures could be set. The legitimacy of this cultural model was to be found in ideological agreements previously established between the parties involved in the process. Then, we show that in order to meet the needs of the specialised french critics, who searched for a convincing model of social and political cinema, and those of their promotional strategies, the cinema novo had to fit in the roles determined by editorial tenets upheld in the periodicals. Thus, the main role the cinema novo had to play was that of a replacement for the italian neorealism and for the french new wave

Esta dissertação se limita a registros de experiências e relatos documentais para evidenciar como as novas tecnologias alteram a prática religiosa, e refletir sobre a ressignificação de imagens sagradas do candomblé quando transitam entre meios audiovisuais e seus processos. A pesquisa objetiva seguir por trajetórias de registros do corpo humano em transe por diferentes dispositivos em diversos meios eletrônicos, para reuni-los em uma exposição de fotografias, vídeo e documentário expandido em múltiplas telas e diversos espaços dentro de uma série de instalações. O estudo amplia fronteiras entre o registro documental do evento religioso e sua reconstrução dentro do espaço expositivo, criando teias de relações entre as linguagens do cinema, fotografia, artes visuais e antropologia em espaços arquitetônicos complexos para potencializar uma experiência imersiva e sensorial.
This dissertation focuses on documentary records of experiences and interviews to examine how new technologies are changing religious practices, and how sacred images in the African-Brazilian religion of candomblé are being re-signified in transit between different eletronic and digital media. The research aims to chart the visual documentation of the human body in trance, generated by a wide variety of different devices, as it journeys through different media. The result of this study will generate an exhibition in which photography, video and documentary film will roam freely over multiple screens and various spaces within a particular venue. The study wishes to expand the boundaries between the documentation of a religious event and its reconstruction within the exhibition space, exploring multi-tiered relationships between cinema, photography, visual arts and anthropology in complex environments, in order to maximize the potential of an immersive, sensory experience.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.
Includes bibliographical references (p. 42-45).
On December 15, 1996, from 1:30 to 4:30, cinem-a-crobatic was formally presented at Columbus Park, New York City. The park is located at the intersection of China town and the Federal Court district. cinem-a-crobatic attempts to amplify the complex and shifting relationship between the urban landscape and the experience of its inhabitants, through the introduction of a new form of urban cinema production. Unlike most conventional cinematic productions, cinem-a-crobatic is a cinema-production-like "play." Its participants are the production crew and the public who interact with the crew at the site of production. The production crew consists of a director, a camera person and actors. I have also included a person who interviews the director and actors to question their motives behind each scene. The roles of the production crew are interchanged among the participants. cinem-a-crobatic not only stimulates new possibilities of cinematic story tel ling by integrating the realities of urban life as a structural basis for its narrative construction, it also attempts to serve as a new method for generating social interaction. Central to the production of cinem-a-crobatic was the use of a new video device that was specifically developed for the project . It was mounted on a standard film dolly and functioned as a nomadic instrument which was pushed around the park by the participants. It functioned both as a sculptural matrix for the production and as a visual lure for drawing the public into its performative arena. This device recorded, edited, and projected the captured video image on the surface of a transparent glass screen that simultaneously framed the real landscape. This thesis text is in two parts. The first part describes the project in detail, including a brief history of how the project evolved, who the participants were, and the nature and use of the video device. The second part discusses the autobiographical and philosophical framework for the project.
by Iki Nakagawa.
M.S.V.S.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.
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Terra em Transe, Tropicália. É já conhecida a relação criadora, propulsora entre o filme e a canção. Em retrospectivas tropicalistas, é oficial esta associação: o longa-metragem de Glauber Rocha ? a música que desencadeou o tropicalismo ? a instalação de Hélio Oiticica - a montagem do texto de Oswald de Andrade, O Rei da Vela, pelo teatro Oficina. Pretendemos aqui, além desse reconhecimento, compreender de que forma a obra cinematográfica de Glauber Rocha e a cena, o momento, o comportamento tropicalista, em alguns de seus aspectos, abrem pontos de aproximação e distanciamento, (des)encontram-se. Propomos, para isso, algumas leituras que partem primeiramente da análise de Terra em Transe, filme de 1967; seu impacto, fissura aberta em contexto, cenário cultural/estético/político, e dentro do próprio cinema do diretor; sua relação com os desdobramentos do conceito Tropicália, de Hélio Oiticica, vinculados às ideias políticas em torno da construção/arquitetura de Brasília, que desembocam na letra da composição de Caetano Veloso. Em um segundo momento do trabalho, é a análise mais detida de Deus e o Diabo na Terra do Sol (longa-metragem de Glauber, de 1964) que abre uma série de diálogos - em transe pela terra - com os processos de criação-invenção de Hélio Oiticica: os Penetráveis (marcadamente os de sua Tropicália); os Bólides (a proposição de obra aberta no Contra-Bólide N°1 Devolver a terra à Terra, e o "momento ético" no Bólide B33 Caixa 18 Homenagem a Cara de Cavalo); o Parangolé. É este que, através da dança, leva/conduz ao corpo, como elemento de desestruturação da linguagem cinematográfica, da música popular brasileira, e dos parâmetros estabelecidos do que seja arte. Nesses exercícios de aproximação e distanciamento, muitas vezes, o que entendemos por "teoria" sobressai dos escritos, críticas, pensamentos dos próprios criadores, colocados em (des)espelhamento no processo de apagamento das fronteiras entre vivência do cotidiano/criação artística, vida/obra.

A presente pesquisa busca empreender um mapeamento de produções cinematográficas, nacionais e internacionais, que abordam a transgeneridade. A partir desse procedimento, observamos as regularidades que emergiram desse conjunto de produções. Objetivamos traçar um percurso que inscreve esse esforço num plano micropolítico, uma vez que interroga criticamente as práticas comunicacionais e discursivas do cinema hegemônico. Para tanto, exploramos aproximações e tensionamentos provocados pelos estudos queer considerando, aqui, que é esse conjunto de noções que melhor dá conta de pensar a condição trans enquanto um deslocamento que se impõe ao sistema binário masculino/feminino e, como consequência, ao sistema sexo/gênero. Esse percurso conduzido, ainda, sob um viés discursivo/foucaultiano, traz como implicação um profundo questionamento daquilo que configura o humano ao interrogar os biopoderes, os limites do corpo e os regimes de verdade que o produzem. Desse modo, essa pesquisa guia-se pela seguinte questão: como se configuram os discursos que produzem e expressam os corpos trans no cinema? Partimos das análises dos filmes Meninos Não Choram (1999), Tomboy (2011), Num Ano de 13 Luas (1978), Tirésia (2003), Lado Selvagem (2004), Vera (1987), Tangerine (2015), Paris is Burning (1991) para examinar as regularidades observadas, supondo ser possível interrogar as condições de possibilidade de novas formas de expressar a transgeneridade, no sentido de configurar linhas de fuga significativas para as audiovisualidades.
The present research seeks to undertake a mapping of cinematographic productions, national and international, that deal with transgender characters. From this procedure, we observe the regularities that emerged from this set of productions. We aim to trace a path that inscribes this effort in a micropolitical plan, since it critically questions the communicational and discursive practices of hegemonic cinema. To do so, we explore approximations and tensions provoked by queer studies, considering here it is this set of notions that best account for thinking the trans condition as a displacement that imposes itself on the male / female binary system and, as a consequence, on the sex / gender system . This course, conducted even under a discursive / Foucaultian bias, entails a deep questioning of what constitutes the human being when interrogating biopowers, the limits of the body and the regimes of truth that produce it. Thus, this research is guided by the following question: how are the discourses that produce and express trans bodies in cinema? We start from the analysis of the films Boys Don’t Cry (1999), Tomboy (2011), In a Year of 13 Moons (1978), Tiresia (2003), Wild Side (2004), Vera (1987), Tangerine (2015) and Paris is Burning (1991) to examine observed regularities, assuming that it is possible to interrogate the conditions of possibility of new ways of expressing transgender experiences, in order to configure significant escape lines for audiovisuals.

Cinéma interactif, film jouable, actable : toutes ces désignations sont le reflet de tentatives visant à définir un cinéma où le spectateur aurait la possibilité d’intervenir sur le déroulement de l’histoire à partir d’alternatives proposées. Un cinéma où le spectateur serait capable de corriger et de modifier le déroulement du récit en fonction de ses choix et des conséquences de ses choix. Depuis son officialisation en 1967, le cinéma interactif n’a cessé de se chercher une forme stable, en épousant respectivement celle du cinéma, celle d’Internet et enfin celle du jeu vidéo où ce dernier semblerait se cristalliser depuis plusieurs années. Le cinéma interactif est en cela, une forme filmique interactive en devenir. Cette thèse propose de partir sur ses traces, d’en délimiter les traits et contours et ainsi mettre en lumière un objet marginal qui témoigne des mutations du champ du cinéma. Il est question d’établir une histoire du cinéma interactif et de comprendre comment ce phénomène complexe, sortant du champ traditionnel des disciplines artistiques, semblerait avoir un rôle à jouer dans la convergence entre le cinéma et le jeu vidéo. Il s’agit également d’étudier comment le récit interactif se déploie et fait participer le spect-acteur, de s’interroger sur sa viabilité dans le contexte actuel autant que sur les conditions qui prévalent à la création de telles œuvres, et enfin, de mettre en avant les enjeux socioculturels de cet objet inscrit dans un paysage artistique où la convergence des médias est devenue chose commune
Interactive cinema, playable movies, interactive movies: all these denominations are the demonstrations of attempts to define a cinema where the spectator would have the possibility to interact with the narration by choosing alternatives. In this kind of cinema, the spectator is able to correct and modify the narration proceeding, because of the consequences of his choices. Since its creation in 1967, interactive cinema has not stopped searching for a stable form to define itself. Throughout the years, it has respectively taken the shape respectively of cinema, Internet and finally video games. This latter seems to have been the more stable form and has been for several years. Interactive cinema is, therefore, a promising interactive filmic form to be. This thesis leads us on its traces, bounding the lines and outlines and so highlights a marginal object which shows the transformations of the field of cinema. By establishing the story of interactive cinema, we will try to understand how this complex phenomenon, which is out of the traditional field of artistic disciplines, could have an effect on the convergence between cinema and video games. It is also question of studying how the interactive narration deploys itself and how it makes the spect-actor participate; to wonder about its viability in this current context, about the creation’s conditions of such works, and finally, to highlights the sociocultural stakes of this object registered in an artistic landscape where convergence media has become a common thing

Depuis la fin de la guerre civile libanaise en 1991, le cinéma libanais décline le mal existentiel et le sentiment de mélancolie d’une génération dont les personnages étrangers au monde comme à eux mêmes, sans repères, font face à la répétition des violences, la séparation, le deuil, ou l’exil, trainent leur mal-être dans une ville en éternel chantier et où les morts tels des fantômes réapparaissent d’entre les ruines. Entre un monde qui s’effondre et un passé qui s’efface, la mélancolie habite ces films dont les récits fragmentés et éclatés ne s’achèvent jamais. Avec Ghassan Salhab, Michel Kammoun, Joanna Hadjithomas, Khalil Joreige, Mohammad Soueid, Danielle Arbid, Christophe Karabache, Waël Noureddine, Nigol Bezgian, Borhane Alaouié, Jocelyne Saab... un nouveau cinéma s’invente
As the Lebanese civil war ended in 1991, a feeling of malaise and melancholy started to imprint the works of filmmakers. Between a collapsing world and a fading past, the films’ characters seem to drift aimlessly as they face constant violence, separation, mourning and exile. Their malaise lingers in a city crammed by massive construction sites where the dead, like ghosts, emerge from the ruins. While melancholy roots itself in the films, fragmented and never ending stories interlace.With Ghassan Salhab, Michel Kammoun, Joanna Hadjithomas, Khalil Joreige, Mohammad Soueid, Danielle Arbid, Christophe Karabache, Waël Noureddine, Nigol Bezgian, Borhane Alaouié, Jocelyne Saab... a new cinema is born

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O presente trabalho teve por objetivo analisar como a ocupação da Amazônia brasileira na década de 70 foi abordada no filme Iracema Uma Transa amazônica, de Jorge Bodansky e Orlando Senna. A análise está relacionada às teorias culturais e análises históricas do período da ditadura militar. Esse viés possibilita um debate sobre as representações da identidade cultural e os conflitos ocorridos dentro desse processo que marcou a história recente do Brasil. O filme é tratado como um documento histórico, um elemento de produção e reprodução de determinados valores culturais e políticos vigentes na sociedade.
This study aims to analyze how the occupation of Brazilian Amazonia in the 70s was addressed in the film “Iracema Uma Transa Amazônica of Jorge Bodansky and Orlando Senna. The analysis is related to cultural theory and historical analyzes of the period of the military dictatorship. This bias allows a discussion of the representations of cultural identity and the conflicts that occurred within that process that marked the recent history of Brazil. The film is treated as a historical document, an element of production and reproduction of certain cultural and political values prevailing in society.

Offering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies. It is attentive to an enmeshment of the cinematic, aesthetics, politics and cultural history.

Câncer, terceiro longa-metragem dirigido por Glauber Rocha, foi rodado em poucos dias em agosto de 1968, no Rio de Janeiro. Filmado na bitola 16mm, não chegou a ser exibido em circuito comercial. Até então, o diretor havia lançado dois filmes considerados marcos da produção cultural brasileira e que tiveram ressonância no panorama do cinema internacional: Deus e o diabo na terra do sol, de 1964, e Terra em transe, de 1967.

Resumen: Los contactos de Le Corbusier con el mundo cinematográfico se dilatan a lo largo de su trayectoria profesional y recorren un amplio espectro. Se concretan en la concepción y construcción de salas dedicadas a la proyección del cine, la participación en proyectos y realización de películas, así como la publicación de un esporádico escrito monográfico titulado "Esprit de vérité" (1933). Este trabajo aborda la singularidad de su pensamiento cinematográfico frente al de otros insignes arquitectos coetáneos y pone de relieve el cambio que experimenta éste entre la película L’Architecture d’Aujourd'hui (1930) y la obra multimedia Le Poème électronique (1958), mostrando un camino que parte de la consideración del cine como un medio donde la imagen se pone al servicio de la arquitectura, y nunca al revés, hasta llegar a utilizar el montaje soviético como mensaje subjetivo del realizador, en este caso también autor de la arquitectura. Abstract: Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture. Palabras clave: Le Corbusier, arquitectura, película, cine, montaje. Keywords: Le Corbusier, architecture, film, movie, cinema, montage. DOI: http://dx.doi.org/10.4995/LC2015.2015.803

The contribution aims at providing an overview on urban planning and on 'modern' vernacular architecture of the rural founding villages built during the Agrarian Reform (1950-1970) in Italy, in the inland areas of Basilicata Region. In particular there are settlements not yet sufficiently known, in which the important of inventorying the considerable built heritage must be the objective of a necessary, urgent safeguarding. With the 'Agrarian Reform' (Law 841/1950), the Italian government carried out a redistribution to settlers of the lands of uncultivated or abandoned large estates. The purpose was to increase productivity in the reformed areas, as long as a better profitability of labor and an adequate 'social equity'. As a consequence, new villages were created that had to fulfil the task of reorganizing rural centers of socio-economic concentrations, able to reconstitute environments similar to the agglomerations from which the laborers, once employed in the latifundiums, came. Among the numerous centers built in Basilicata, Borgo Taccone is representative of this system of agrarian colonization of the Lucanian territory. The settlement, in which the modern construction techniques were broadly experimented, is the service center for farmers living in farmhouses in the surrounding funds and for this reason it was equipped with core services such as the church, the school, the post office, the clinic, cinema/theater, etc. After an initial period of demographic expansion, in the seventies the ‘Borgo’ began to depopulate and is now in a state of abandonment and decay. Despite this, this settlement, surrounded by agricultural land in a well-preserved landscape, still retains a strong formal character in both its urban and architectural layout. The contribution traces the physical, social and cultural transformation line that led this rich asset to the contemporary world, outlining a possible future cultural theoretical debate on its safeguard and sustainable enhancement.

The walls and moats of the city of Otranto. An integrated three-dimensional survey for studying the architectural and archaeological evidenceThe system of fortifications that rings the old town of the city of Otranto (Puglia, Italy) conserves the still visible traces of structures belonging to various historical periods, attesting to the evolution of the settlement’s defensive system from the Messapian period (fifth century BC) to the Aragonese period (sixteenth century). As part of a recent urban renewal project targeting the area of the moats, new archaeological, historic and architectural investigations were conducted. These included a painstaking analysis of the circuit of defensive walls and the broad and deep moat, which contains valuable archaeological and architectural evidence that has never before been studied. The use of advanced surveying technologies such as 3D Laser Scanners, parametric and georeferenced, enabled a holistic, synoptic and comparative reading of the structures, recording the distinctive features, building techniques, materials, alignments, range of thicknesses and losses of continuity in the walls, all of which are necessary for a correct identification of the construction phases. In addition, the data arising from the study and three-dimensional survey of some subterranean tunnels, entirely excavated in the rock in the area of the moats surrounding the Aragonese castle, have also enriched the framework of knowledge regarding specific military and defensive dynamics.

ABSTRACT Background: Efficiency while paying attention to service quality is the top priority of the hospital. The efficiency in radiology installations has also not gone unnoticed. The implementation of Picture Archiving and Commucating System (PACS) and Radiology Information System (RIS) is one of the efforts to control costs in radiology installations, especially in consumables’ efficiency (BHP). Bukittinggi National Stroke Hospital (RSSN), as one of the vertical hospitals located in the City of Bukittinggi, West Sumatra, has become a precursor to the implementation of PACS and RIS in this province. This study aimed to determine effect of material using ct scan and mri after use of picture archiving and communicating system and radiology information system at radiological installation of Bukittinggi national hospital, West Sumatra. Subjects and Method: This was a descriptive study conducted at Radiological Installation Of Bukittinggi National Hospital, West Sumatra from July 2020. The data were collected by observation and monthly report data. Results: The results of the analysis of the use of PACS and RIS had a significant impact on the cost efficiency of BHP CT scans and MRIs in the RSSN radiology installation reaching 97.9%. Conclusion: Transfer of CT scan and MRI results from film to DVD-R for internal RSSN patients with considerable efficiency. Keyword: PACS, RIS, cost control, BHP Correspondence: Widya. Postgraduate Administrative Studies, Faculty of Public Health, Universitas Indonesia. Pondok Cina, Kecamatan Beji, Kota Depok, Jawa Barat 12345. Email: mnwidya@gmail.com. Mobile: (021) 7864975 DOI: https://doi.org/10.26911/the7thicph.05.23

We present a new batch volume rendering technique which alleviates the time and expertise needed by the domain scientist in order to produce quality volume rendered results. This process can be done both in situ and as a post-processing step. The advantage of performing this as an in situ process is that the user is not required to have a priori knowledge of the exact physics and how best to create a transfer function to volume render that physics during the in situ run. For the post-processing use case, the user has the ability to easily examine a wide variety of transfer functions without the tedious work of manually generating each one.

African migrants in Mexico are migratory flows that have been less studied than migration from Latin America (Cinta Cruz, 2020). In the last five years, migrants from 35 different African countries were detained in Mexico. Although arrests of African persons are much lower than in the case of Central American countries, on average, between 6 and 19 African persons are detained per day. It is essential to know their mobility patterns, identify their international protection needs, and the main obstacles they face, whether to cross into the United States or to remain in Mexico as refugees (Narváez Gutiérrez, 2015). In addition, these populations are often highly stigmatized and exposed to face racism and institutional violence when they contact Mexican authorities (Immigration, 2021). In this working paper, my objective is to present some data on the migration of African people in Mexico after the arrival of caravans in 2018 and to reflect on the impact of a global discourse that stereotypes migrants as criminals or sick people in the access to human rights of African asylum seekers in Mexico and on the effects of a growing tendency to treat migrants as beneficiaries of temporary humanitarian aid rather than as subjects of rights.

1.1 Macroeconomic summary Economic recovery has consistently outperformed the technical staff’s expectations following a steep decline in activity in the second quarter of 2020. At the same time, total and core inflation rates have fallen and remain at low levels, suggesting that a significant element of the reactivation of Colombia’s economy has been related to recovery in potential GDP. This would support the technical staff’s diagnosis of weak aggregate demand and ample excess capacity. The most recently available data on 2020 growth suggests a contraction in economic activity of 6.8%, lower than estimates from January’s Monetary Policy Report (-7.2%). High-frequency indicators suggest that economic performance was significantly more dynamic than expected in January, despite mobility restrictions and quarantine measures. This has also come amid declines in total and core inflation, the latter of which was below January projections if controlling for certain relative price changes. This suggests that the unexpected strength of recent growth contains elements of demand, and that excess capacity, while significant, could be lower than previously estimated. Nevertheless, uncertainty over the measurement of excess capacity continues to be unusually high and marked both by variations in the way different economic sectors and spending components have been affected by the pandemic, and by uneven price behavior. The size of excess capacity, and in particular the evolution of the pandemic in forthcoming quarters, constitute substantial risks to the macroeconomic forecast presented in this report. Despite the unexpected strength of the recovery, the technical staff continues to project ample excess capacity that is expected to remain on the forecast horizon, alongside core inflation that will likely remain below the target. Domestic demand remains below 2019 levels amid unusually significant uncertainty over the size of excess capacity in the economy. High national unemployment (14.6% for February 2021) reflects a loose labor market, while observed total and core inflation continue to be below 2%. Inflationary pressures from the exchange rate are expected to continue to be low, with relatively little pass-through on inflation. This would be compatible with a negative output gap. Excess productive capacity and the expectation of core inflation below the 3% target on the forecast horizon provide a basis for an expansive monetary policy posture. The technical staff’s assessment of certain shocks and their expected effects on the economy, as well as the presence of several sources of uncertainty and related assumptions about their potential macroeconomic impacts, remain a feature of this report. The coronavirus pandemic, in particular, continues to affect the public health environment, and the reopening of Colombia’s economy remains incomplete. The technical staff’s assessment is that the COVID-19 shock has affected both aggregate demand and supply, but that the impact on demand has been deeper and more persistent. Given this persistence, the central forecast accounts for a gradual tightening of the output gap in the absence of new waves of contagion, and as vaccination campaigns progress. The central forecast continues to include an expected increase of total and core inflation rates in the second quarter of 2021, alongside the lapse of the temporary price relief measures put in place in 2020. Additional COVID-19 outbreaks (of uncertain duration and intensity) represent a significant risk factor that could affect these projections. Additionally, the forecast continues to include an upward trend in sovereign risk premiums, reflected by higher levels of public debt that in the wake of the pandemic are likely to persist on the forecast horizon, even in the context of a fiscal adjustment. At the same time, the projection accounts for the shortterm effects on private domestic demand from a fiscal adjustment along the lines of the one currently being proposed by the national government. This would be compatible with a gradual recovery of private domestic demand in 2022. The size and characteristics of the fiscal adjustment that is ultimately implemented, as well as the corresponding market response, represent another source of forecast uncertainty. Newly available information offers evidence of the potential for significant changes to the macroeconomic scenario, though without altering the general diagnosis described above. The most recent data on inflation, growth, fiscal policy, and international financial conditions suggests a more dynamic economy than previously expected. However, a third wave of the pandemic has delayed the re-opening of Colombia’s economy and brought with it a deceleration in economic activity. Detailed descriptions of these considerations and subsequent changes to the macroeconomic forecast are presented below. The expected annual decline in GDP (-0.3%) in the first quarter of 2021 appears to have been less pronounced than projected in January (-4.8%). Partial closures in January to address a second wave of COVID-19 appear to have had a less significant negative impact on the economy than previously estimated. This is reflected in figures related to mobility, energy demand, industry and retail sales, foreign trade, commercial transactions from selected banks, and the national statistics agency’s (DANE) economic tracking indicator (ISE). Output is now expected to have declined annually in the first quarter by 0.3%. Private consumption likely continued to recover, registering levels somewhat above those from the previous year, while public consumption likely increased significantly. While a recovery in investment in both housing and in other buildings and structures is expected, overall investment levels in this case likely continued to be low, and gross fixed capital formation is expected to continue to show significant annual declines. Imports likely recovered to again outpace exports, though both are expected to register significant annual declines. Economic activity that outpaced projections, an increase in oil prices and other export products, and an expected increase in public spending this year account for the upward revision to the 2021 growth forecast (from 4.6% with a range between 2% and 6% in January, to 6.0% with a range between 3% and 7% in April). As a result, the output gap is expected to be smaller and to tighten more rapidly than projected in the previous report, though it is still expected to remain in negative territory on the forecast horizon. Wide forecast intervals reflect the fact that the future evolution of the COVID-19 pandemic remains a significant source of uncertainty on these projections. The delay in the recovery of economic activity as a result of the resurgence of COVID-19 in the first quarter appears to have been less significant than projected in the January report. The central forecast scenario expects this improved performance to continue in 2021 alongside increased consumer and business confidence. Low real interest rates and an active credit supply would also support this dynamic, and the overall conditions would be expected to spur a recovery in consumption and investment. Increased growth in public spending and public works based on the national government’s spending plan (Plan Financiero del Gobierno) are other factors to consider. Additionally, an expected recovery in global demand and higher projected prices for oil and coffee would further contribute to improved external revenues and would favor investment, in particular in the oil sector. Given the above, the technical staff’s 2021 growth forecast has been revised upward from 4.6% in January (range from 2% to 6%) to 6.0% in April (range from 3% to 7%). These projections account for the potential for the third wave of COVID-19 to have a larger and more persistent effect on the economy than the previous wave, while also supposing that there will not be any additional significant waves of the pandemic and that mobility restrictions will be relaxed as a result. Economic growth in 2022 is expected to be 3%, with a range between 1% and 5%. This figure would be lower than projected in the January report (3.6% with a range between 2% and 6%), due to a higher base of comparison given the upward revision to expected GDP in 2021. This forecast also takes into account the likely effects on private demand of a fiscal adjustment of the size currently being proposed by the national government, and which would come into effect in 2022. Excess in productive capacity is now expected to be lower than estimated in January but continues to be significant and affected by high levels of uncertainty, as reflected in the wide forecast intervals. The possibility of new waves of the virus (of uncertain intensity and duration) represents a significant downward risk to projected GDP growth, and is signaled by the lower limits of the ranges provided in this report. Inflation (1.51%) and inflation excluding food and regulated items (0.94%) declined in March compared to December, continuing below the 3% target. The decline in inflation in this period was below projections, explained in large part by unanticipated increases in the costs of certain foods (3.92%) and regulated items (1.52%). An increase in international food and shipping prices, increased foreign demand for beef, and specific upward pressures on perishable food supplies appear to explain a lower-than-expected deceleration in the consumer price index (CPI) for foods. An unexpected increase in regulated items prices came amid unanticipated increases in international fuel prices, on some utilities rates, and for regulated education prices. The decline in annual inflation excluding food and regulated items between December and March was in line with projections from January, though this included downward pressure from a significant reduction in telecommunications rates due to the imminent entry of a new operator. When controlling for the effects of this relative price change, inflation excluding food and regulated items exceeds levels forecast in the previous report. Within this indicator of core inflation, the CPI for goods (1.05%) accelerated due to a reversion of the effects of the VAT-free day in November, which was largely accounted for in February, and possibly by the transmission of a recent depreciation of the peso on domestic prices for certain items (electric and household appliances). For their part, services prices decelerated and showed the lowest rate of annual growth (0.89%) among the large consumer baskets in the CPI. Within the services basket, the annual change in rental prices continued to decline, while those services that continue to experience the most significant restrictions on returning to normal operations (tourism, cinemas, nightlife, etc.) continued to register significant price declines. As previously mentioned, telephone rates also fell significantly due to increased competition in the market. Total inflation is expected to continue to be affected by ample excesses in productive capacity for the remainder of 2021 and 2022, though less so than projected in January. As a result, convergence to the inflation target is now expected to be somewhat faster than estimated in the previous report, assuming the absence of significant additional outbreaks of COVID-19. The technical staff’s year-end inflation projections for 2021 and 2022 have increased, suggesting figures around 3% due largely to variation in food and regulated items prices. The projection for inflation excluding food and regulated items also increased, but remains below 3%. Price relief measures on indirect taxes implemented in 2020 are expected to lapse in the second quarter of 2021, generating a one-off effect on prices and temporarily affecting inflation excluding food and regulated items. However, indexation to low levels of past inflation, weak demand, and ample excess productive capacity are expected to keep core inflation below the target, near 2.3% at the end of 2021 (previously 2.1%). The reversion in 2021 of the effects of some price relief measures on utility rates from 2020 should lead to an increase in the CPI for regulated items in the second half of this year. Annual price changes are now expected to be higher than estimated in the January report due to an increased expected path for fuel prices and unanticipated increases in regulated education prices. The projection for the CPI for foods has increased compared to the previous report, taking into account certain factors that were not anticipated in January (a less favorable agricultural cycle, increased pressure from international prices, and transport costs). Given the above, year-end annual inflation for 2021 and 2022 is now expected to be 3% and 2.8%, respectively, which would be above projections from January (2.3% and 2,7%). For its part, expected inflation based on analyst surveys suggests year-end inflation in 2021 and 2022 of 2.8% and 3.1%, respectively. There remains significant uncertainty surrounding the inflation forecasts included in this report due to several factors: 1) the evolution of the pandemic; 2) the difficulty in evaluating the size and persistence of excess productive capacity; 3) the timing and manner in which price relief measures will lapse; and 4) the future behavior of food prices. Projected 2021 growth in foreign demand (4.4% to 5.2%) and the supposed average oil price (USD 53 to USD 61 per Brent benchmark barrel) were both revised upward. An increase in long-term international interest rates has been reflected in a depreciation of the peso and could result in relatively tighter external financial conditions for emerging market economies, including Colombia. Average growth among Colombia’s trade partners was greater than expected in the fourth quarter of 2020. This, together with a sizable fiscal stimulus approved in the United States and the onset of a massive global vaccination campaign, largely explains the projected increase in foreign demand growth in 2021. The resilience of the goods market in the face of global crisis and an expected normalization in international trade are additional factors. These considerations and the expected continuation of a gradual reduction of mobility restrictions abroad suggest that Colombia’s trade partners could grow on average by 5.2% in 2021 and around 3.4% in 2022. The improved prospects for global economic growth have led to an increase in current and expected oil prices. Production interruptions due to a heavy winter, reduced inventories, and increased supply restrictions instituted by producing countries have also contributed to the increase. Meanwhile, market forecasts and recent Federal Reserve pronouncements suggest that the benchmark interest rate in the U.S. will remain stable for the next two years. Nevertheless, a significant increase in public spending in the country has fostered expectations for greater growth and inflation, as well as increased uncertainty over the moment in which a normalization of monetary policy might begin. This has been reflected in an increase in long-term interest rates. In this context, emerging market economies in the region, including Colombia, have registered increases in sovereign risk premiums and long-term domestic interest rates, and a depreciation of local currencies against the dollar. Recent outbreaks of COVID-19 in several of these economies; limits on vaccine supply and the slow pace of immunization campaigns in some countries; a significant increase in public debt; and tensions between the United States and China, among other factors, all add to a high level of uncertainty surrounding interest rate spreads, external financing conditions, and the future performance of risk premiums. The impact that this environment could have on the exchange rate and on domestic financing conditions represent risks to the macroeconomic and monetary policy forecasts. Domestic financial conditions continue to favor recovery in economic activity. The transmission of reductions to the policy interest rate on credit rates has been significant. The banking portfolio continues to recover amid circumstances that have affected both the supply and demand for loans, and in which some credit risks have materialized. Preferential and ordinary commercial interest rates have fallen to a similar degree as the benchmark interest rate. As is generally the case, this transmission has come at a slower pace for consumer credit rates, and has been further delayed in the case of mortgage rates. Commercial credit levels stabilized above pre-pandemic levels in March, following an increase resulting from significant liquidity requirements for businesses in the second quarter of 2020. The consumer credit portfolio continued to recover and has now surpassed February 2020 levels, though overall growth in the portfolio remains low. At the same time, portfolio projections and default indicators have increased, and credit establishment earnings have come down. Despite this, credit disbursements continue to recover and solvency indicators remain well above regulatory minimums. 1.2 Monetary policy decision In its meetings in March and April the BDBR left the benchmark interest rate unchanged at 1.75%.