Статті в журналах з теми "Cinéma – Portugal – Histoire"

Les héritages coloniaux qui ont marqué l’histoire des grandes puissances mondiales et celle des anciennes colonies font aujourd’hui l’objet de nombreux débats de société mobilisant les historiens. Le cinéma, que ce soit à travers des créations fictionnelles ou un travail plus documentaire, questionne lui aussi les tensions entre passé et présent, entre histoire officielle et mémoire, entre imaginaires collectifs et expériences individuelles, contribuant à reconfigurer et à complexifier les identités actives au sein des Etats-nations.C’est ce dont témoigne le film documentaire d’Ariel de Bigault Fantômes d’un Empire (2020), qui questionne les imaginaires cinématographiques suscités par l’histoire coloniale du Portugal, des années 1920 jusqu’à aujourd’hui. L’objectif du présent article est de montrer comment la dimension musicale particulièrement importante de ce documentaire, qui vient rythmer le dialogue entre hier et aujourd’hui, subvertit les réifications temporelles et joue ici le rôle d’un « dispositif d’alerte » essentiel à tout film historique, travaillant sans cesse les articulations entre présent et passé, tout en prenant garde de ne jamais combler ces écarts temporels (LINDEPERG). La musique permettant ici de questionner certains enjeux des approches « postcoloniales » - le préfixe « post » n’étant pas seulement entendu dans un sens historique mais comme angle d’analyse d’une situation contemporaine pensée comme l’héritière d’une situation coloniale.

Cet article est un extrait d’une recherche réalisée sur une section des archives du Secrétariat National de l’Information (SNI) comportant une documentation relative aux ciné-clubs portugais pendant l’État Nouveau. L’étude s’appuie sur l’analyse des archives de l’État salazariste, comprenant près de quarante ciné-clubs de 1946 à 1968. Cette recherche effectuée dans le cadre de ma thèse « Filmer sous la contrainte : le cinéma portugais pendant l’État Nouveau (1933-1974) », débutée en 2015, et dont un chapitre est consacré aux ciné-clubs portugais, a pour but de comprendre comment l’État percevait ce mouvement, ainsi que le champ d’action du SNI dans le milieu du cinéma portugais pendant la dictature. Il s’agit également d’une contribution visant une histoire globale des ciné-clubs portugais, encore en devenir.

Este artigo apresenta algumas das principais conclusões de um projecto de pós-doutoramento que se centrou no estudo da censura ao cinema, no que respeita ao erotismo e violência, em Portugal, durante o período de governo de Marcello Caetano (1968-1974). Qual a pulsão mais censurada: o erotismo ou a violência? Será que a censura ao cinema ficou mais branda durante o marcelismo? Estas são algumas das questões a que o presente artigo pretende dar resposta. A pesquisa baseou-se nos processos de censura e actas da Comissão de Censura dos filmes, nacionais e estrangeiros, que estão depositados no Arquivo Nacional da Torre do Tombo (ANTT), em Lisboa.

After World War I, cinema emerged as a powerful instrument of (counter) information for the colonial cause in the service of the European colonial powers, and Portugal was no exception. In fact, the use of cinema by the Portuguese authorities for colonial propaganda is the subject of this article. The aim of this study is to show how the post-war “winds of change” shifted the paradigm of the Portuguese colonial cinema by comparing the representation of Luanda in two colonial films about Angola produced in the 1950s and 1970s: Luanda, Cidade Feiticeira, (1950) and Luanda e a sua Gente (1973), respectively.

O artigo versa sobre o cinema de propaganda como pedagogia do autoritarismo e debruça-se, em particular, sobre o noticiário português Jornal de Atualidades (1938-1951). Propõe-se explorar as potencialidades pedagógicas do cinema de atualidades a partir da hipótese de Franco, de visita oficial a Portugal (1949), como um ‘professor invisível’ que guiaria os conteúdos noticiosos. A investigação é levada a efeito com recurso a uma análise de conteúdo comparativa com o mesmo episódio nos No-Do’s espanhóis, configurando uma proposta metodológica relativamente singular. Acaba por se revelar uma ambivalência discursiva, em que Franco não é de todo o ‘professor invisível’ e em que a esposa do ditador, guiada pela mão e pela lente do realizador português, é quem efetivamente incorpora a disposição correta e esperada. Essa leitura dá lugar a uma nova possibilidade, a de que é o realizador e suas ambições pró-artísticas quem efetiva e inelutavelmente comanda estes conteúdos.

Review of: Women in Iberian Filmic Culture: A Feminist Approach to the Cinemas of Portugal and Spain, Elena Cordero-Hoyo and Begoña Soto-Vázquez (eds) (2020) Bristol and Chicago, IL: Intellect, 222 pp., ISBN 978-1-78938-171-9, p/bk, £32.95 ISBN 978-1-78938-152-8, h/bk, £90.05 ISBN 978-1-78938-172-6, e-pub, £25.95 ISBN 978-1-78938-173-3, pdf, £25.95

In this article we propose a problematizing overview of daily life under the Salazarist dictatorship (1926–1974), linking the corporative, educational and propagandistic contexts. We examine how institutionalized, controlled, negotiated and/or repressed leisure was spread throughout the smallest interstices of daily life in Portugal. We also analyse the dichotomous realities and policies for the people and elites (in education and reading, cultural production, circulation and consumption), for women and men (social and cultural roles), etc., and compromises with an expanded mass culture. The article directs attention to specific examples of sociocultural negotiations between civil society and the state, as happened in sports (para-)folkloristic festivities and parades (e.g. the ‘popular marches’) and in certain mass culture productions (e.g. revue theatre, cinema, broadcasting and television). Similarly, our ‘bottom-up’ approach focuses on evidence of subversive or alternative sociability and cultural achievements, demonstrating that, in some areas, elements of civil society were able to express open resistance and/or alternative views to the dictatorship.

Drawing from Deleuze and Guattari’s geophilosophy, Patricia Pisters adopts the term ‘metallurgical’ to describe the filmmaking of contemporary directors of political cinema who exploit the unprecedented opportunities afforded by digital technology to recycle and remediate transnational visual archives. Similarly, in the light of Deleuze’s meditations on modern film in Cinema 2: The Time-Image (1989), Pisters identifies metallurgical filmmaking with the ‘forging’ of a supra-national ‘world memory’ and a liberated ‘people to come’. My interest in this article is to ponder the extent to which these concepts might be useful for analysing the intermedial documentaries of Portuguese filmmaker, Susana de Sousa Dias (1962–present). More specifically, I am interested in exploring how Sousa Dias’ work with archival photographs of political prisoners in her early film Still Life (2005) might suggest both an ‘interruption’ of a chronological national history and, at the same time, an appeal to the suppressed social memory of a ‘missing people’ from Portugal’s dictatorial past. To elucidate this premise, I propose that the mugshots function as symbolic counterpoints to the transcontinental ‘patriotic masses’ of regime propaganda with which they are intercut in the film. By extension, I also propose that they evoke the de-individuated memorial consciousness associated with a ‘world memory’.

Abstract Literature and cinema can serve as historical documents, bearing potent testimonial content that aims to transmit the experiences and memories of those who have lived them. This analysis centers on the narrative of women who were active participants in armed organizations during the military dictatorship in Brazil and the Salazar dictatorship in Portugal, between the end of the 1960s and the beginning of the 1970s, and that later chose to make public their memories and experiences. Two works are analyzed: the 1989 documentary Que Bom te ver viva [How Nice to See You Alive] by Brazilian filmmaker Lucia Murat, and the 2012 book Mulheres de Armas: História das Brigadas Revolucionárias [Women in Arms: History of the Revolutionary Brigades], by Portuguese journalist Isabel Lindim. The testimonies presented in these works make explicit the differences in the political processes experienced in the two countries, as well as the specificity of histories and memories narrated by the women who were interviewed. These differences are not only indicative of the distinct political characteristics of the two countries but also reflect the specific contexts of remembrance at stake in the book and film under analysis.

Resumo A literatura e o cinema podem ser documentos históricos que assumem forte teor testemunhal. Procuram, nesses casos, transmitir a vivência, a experiência e a memória daquele/a que as testemunham. Neste texto, colocamos o foco em narrativas de mulheres que participaram de organizações armadas durante a ditadura militar no Brasil e a ditadura salazarista em Portugal, entre o final dos anos 1960 e o início da década de 1970, e que, posteriormente, trouxeram a público suas memórias e vivências. Analisamos o documentário Que bom te ver viva, da cineasta brasileira Lúcia Murat, lançado em 1989, e o livro da jornalista portuguesa Isabel Lindim, Mulheres de armas: História das Brigadas Revolucionárias, publicado em 2012. Os depoimentos apresentados nessas obras evidenciam as diferenças dos processos políticos vividos nos dois países, bem como as especificidades das histórias e memórias narradas pelas mulheres. Essas diferenças remetem não apenas às características políticas dos dois países em foco, mas também aos distintos contextos de rememoração em pauta no filme e no livro analisados.

RESUMO Neste presente artigo, intentarei problematizar, por meio de uma história cruzada entre Brasil e Portugal, a noção de arte no cinema, já que ela vem servindo de plataforma para miríades de afazeres cinematográficos na contemporaneidade. Mais especificamente, tentarei argumentar, a partir das balizas teóricas e metodológicas ofertadas por Michel Foucault, como a redução da exuberante variedade de sentidos e estratégias imputadas ao conceito de arte nos idos de 1950 e 1960 não pode ser explicada a contento pelo viés do apuramento do polo da recepção, como se os dirigentes da cultura cinematográfica na atualidade tivessem, enfim, descoberto a verdadeira nervura do cinema, antes eclipsada pelo imperialismo do cinema estadunidense. Antes, buscarei trazer à tona a pletora de objetivos políticos que o movimento cineclubista buscou alcançar por intermédio da operacionalização do conceito de arte.

Contents Métissage in Nineteenth Century Senegal: Hybrid Identity and French Colonialism in a West African Town Hilary Jones ..................................................... 1 Musical Hybridity in Flux: Representing Race, Colonial Policy, and Modernity in French North Africa, 1860s-1930s . Jann Pasler ........................ 21 Le cinéma, un véhicule culturel en contexte colonial Odile Goerg ..........................69 A la recherche d’un primitivisme fédérateur: le peintre Atlan et le groupe Cobra ...................................................................... 95 Anissa Bouayed ...................................................................... 95 Colonial Encounters: A Danish Planter in German East Africa ......................................................................................... 107 Marianne Rostgaard ......................................................................................... 107 Education et identité des « Portugais » en Casamance XIXè- début XXè Histoire d’une « assimilation » manquée ? Céline Labrune-Badiane ...................... 131 Camwood (PterocarpusTinctorius) in the Political Economy of the Cross and Manyu Rivers Basin of Cameroon and Some Hinterland Communities, 1916-1961 Henry Kam Kah ....................................... 149 Colonial Economic Disempowerment and the Responses of the Hlengwe Peasantry of the South East Lowveld of Zimbabwe: 1890-1965 Taderera Hebert Chisi .................................................................. 165

De acordo com a Constituição da República Portuguesa, cabe ao Estado garantir o acesso de todos os cidadãos à fruição e criação cultural. Contudo, com a aplicação das medidas de contenção da pandemia da Covid-19, o sector cultural tornou-se vulnerável. O objetivo deste estudo é analisar de que forma o impacto da pandemia afetou a efetivação dos direitos culturais dos cidadãos nacionais. Esta investigação realiza uma análise comparada entre a realidade cultural nacional e a Região Autónoma da Madeira, considerando dados de visitantes nos museus e espectadores nos cinemas no período 2010-2020, refletindo já o impacto da pandemia em 2020. Numa primeira fase, procedeu-se à revisão bibliográfica da literatura científica. Para obter uma compreensão mais abrangente do sector cultural, este estudo debruçou-se sobre os dados estatísticos do Instituto Nacional de Estatística (2021) e da Direção Regional de Estatística - RAM (2021). Os resultados permitem verificar a diminuição da oferta cultural e do número de visitantes/espectadores dos espaços culturais. Este estudo propõe às organizações culturais a adoção de estratégias de comunicação e atuação na comunidade, de forma a promoverem a inclusão de diferentes públicos e manterem, assim, a sua atratividade e competitividade num contexto pós-pandémico.

De acordo com a Constituição da República Portuguesa, cabe ao Estado garantir o acesso de todos os cidadãos à fruição e criação cultural. Contudo, com a aplicação das medidas de contenção da pandemia da Covid-19, o sector cultural tornou-se vulnerável. O objetivo deste estudo é analisar de que forma o impacto da pandemia afetou a efetivação dos direitos culturais dos cidadãos nacionais. Esta investigação realiza uma análise comparada entre a realidade cultural nacional e a Região Autónoma da Madeira, considerando dados de visitantes nos museus e espectadores nos cinemas no período 2010-2020, refletindo já o impacto da pandemia em 2020. Numa primeira fase, procedeu-se à revisão bibliográfica da literatura científica. Para obter uma compreensão mais abrangente do sector cultural, este estudo debruçou-se sobre os dados estatísticos do Instituto Nacional de Estatística (2021) e da Direção Regional de Estatística - RAM (2021). Os resultados permitem verificar a diminuição da oferta cultural e do número de visitantes/espectadores dos espaços culturais. Este estudo propõe às organizações culturais a adoção de estratégias de comunicação e atuação na comunidade, de forma a promoverem a inclusão de diferentes públicos e manterem, assim, a sua atratividade e competitividade num contexto pós-pandémico.

Animations, in their various genres, are an important amalgamation of art and technology that suggest new ways of thinking, feeling, and experiencing contemporary issues (Wells; Whitley). Animations can provide a commentary on the current planetary crisis, such as climate change, by offering a radically altered reality (Lundberg et al. 9). In the case of environmental animations, these issues become more evident because at their core is the production of knowledge, subjectivities, and speculations about the future of the planet and humanity. These problematisations usually arise from the centrality of non-human entities as narrative subjects (Starosielski). However, even in other genres of animation, such as fantasy, superhero fiction, and comedy, where non-human beings may or may not be at the narrative’s centre, it is possible to find suggestions regarding environmental issues emerging from characters, episodes, and specific events (see, for example, Vital, “Lapis Lazuli”; Vital, “Water”). Such is the case with Miraculous: Tales of Ladybug & Cat Noir (2015–Present), where climate change is addressed in the episodes Stormy Weather 1 and Stormy Weather 2 with the supervillain Climatika, offering an original commentary on human responsibility in causing climate changes. This article examines how climate change in this animated series is constructed as black magic through these episodes, shown between Seasons 1 and 3. Black magic is understood as where people will use non-human phenomena to fulfil their dark intentions against the forces of light, often to the individuals’ benefit (Thacker). Despite its anthropocentric roots, the relationship between climate change and black magic in the animation is analysed using Jane Bennett’s concept of enchantment in the modern world. According to this concept, nature—often perceived as inert, passive, and instrumental—actively impacts on human life, regardless of human beings’ alienation from non-human entities’ affective power (Bennett). Thus, in the animation, although Aurore Beauréal, driven by selfish motivations, seeks to control time by becoming the supervillain Climatika, the effect of this manipulation proves to be completely contingent on fostering a world-without-us feeling, which has also been present in other animations and media. Negative Emotions, Akumatisation, and Black Magic Miraculous: Tales of Ladybug & Cat Noir (Miraculous: Les aventures de Ladybug et Chat Noir) is a French 3D animated series created by Thomas Astruc, co-produced with South Korea, Japan, Italy, Brazil, and Portugal, and involving the studios Zagtoon, Method Animation, Toei Animation, SAMG Animation, SK Broadband, TF1, and Gloob. It is a superhero fiction series that tells the adventures of Marinette Dupain-Cheng (Ladybug) and Adrien Agreste (Cat Noir), two teenage students who possess jewels (Miraculous) that connect them to magical creatures (Kwamis). These characters mostly lead normal lives, keeping their superhero identities a secret (including from each other, fuelling a confused platonic love from Cat Noir for Ladybug and Marinette for Adrien). During crises, the Kwamis grant superpowers to both of them to protect Paris from the evil villain Hawk Moth (whose alter ego is Gabriel Agreste, Adrien’s father). The series is one of the most popular animations today, aired in over 120 countries and winner of several international awards (Aguasanta-Regalado). Hawk Moth possesses the Butterfly Miraculous, which enables him to create akumas (butterflies with the power to sense individuals with intense negative emotions, such as anger, distress, envy, and sadness, and akumatise them). At first, this butterfly grants Moth the ability to communicate telepathically with its target when it lands on and possesses an important object of the victim. Therefore, the villain makes an irresistible proposal to grant superpowers to the victim (usually in an attempt to reverse an unfortunate situation the victim faces) and, in return, the victim is expected to defeat Ladybug and Cat Noir. Akumatisation is a clear allegorical reference to demonic possession in the mythological terms of Judeo-Christian culture, while the akumatised villains are, less evidently, related to the image of the witch in Renaissance Europe. According to Carolyn Merchant, there was a consensus in the sixteenth century that witches, by making a pact with the devil, acquired the power to alter the weather drastically, produce diseases, destroy crops, and spread famine. Furthermore, some scientists of the time connected the behaviour of witches to an excess of melancholic humour, which was related to anxieties, sadness, and other extreme negative emotions that made them vulnerable to the devil’s attacks (Merchant 140). Therefore, in the episodes Stormy Weather 1 and Stormy Weather 2 there appears to be a manifestation of two out of the three levels of possession in the akumatised character, as indicated in the main demonology manuals of the sixteenth century. The first level, which is that of individual possession, affects the victim on psychological and physical levels, and their intentions and actions become controlled or inspired by the evil spirit. The third level involves the possibility of climatological possession, with the induction of extreme weather phenomena such as droughts and floods (Thacker 62). Aurore Beauréal—the villain of episodes Stormy Weather 1 and Stormy Weather 2—transforms into Climatika, resembling the witches of Renaissance Europe with all their powers of black magic. That is, a psychological and moral disposition induces Aurore Beauréal to undergo a radical metamorphosis to gain control over the world and achieve her objectives. This world control, driven by selfish objectives, which could be achieved through technological and scientific artifices, is depicted in the series as something stemming from the darkest depths of our beings—an innate desire for dominance and control for personal ends, a form of black magic. One of the dilemmas found in superhero fiction series and films in addressing climate change is the exploitation of exceptionally catastrophic weather events but concealing the long-term human actions that lead to transformations in the environment (McGowan). The other dilemma is the simplification of the environmental issue by transferring the possibility of its resolution to a hero. One interpretation is that the hero of these texts represents the status quo of corporations that contribute to the problem, but in sponsoring these series or films are not held accountable, or the climate problem is too readily fixed (Chatterji). However, the Miraculous animation addresses these dilemmas by examining extreme weather events and placing them directly in the hands of a character who is an ordinary yet ambitious individual, and like any person has emotional instabilities. Miraculous, then, explicitly expresses the anthropogenic nature of climate change and indicates the impossibility of effectively controlling the cosmos by those who, driven by their negative desires, resort to artifices to dominate planetary forces. Finally, the efforts of the superheroes Ladybug and Cat Noir prove insufficient to prevent Climatika’s return, who emerges as even more powerful due to a set of factors that promote and intensify the negative emotions of Aurore Beauréal. Therefore, Miraculous can highlight the human face of climate change and its inability to be easily overcome. Climatika: Revenge of the Weather Witch The first season starts with the story of Aurore Beauréal, a young student who dreams of becoming the weather girl for the KIDZ+ channel. In a contest involving numerous candidates, only she and Mireille Caquet (another student) entered the final. The fact that Caquet is an extremely shy and calm young woman led Beauréal to believe that she would easily win the competition over Caquet, due to Beauréal having a more outgoing nature and assertive exploration of her physical appearance. Nevertheless, Aurore suffered an unexpected and humiliating defeat (with a difference of half a million votes) that was seen nationwide. Hawk Moth senses the vibrations of extreme anger and sadness from Aurore Beauréal and sends an akuma to her, transforming her into Climatika (Stormy Weather). The aesthetics of Climatika are related to the stereotype of the modern teenage witch in contemporary fantasy stories. She is depicted wearing a pleated mini skirt and a short dark blue blouse with puffy sleeves—a retro trend from the 1980s lending a romantic and feminine touch to the composition. The wand or the magic broomstick is replaced by an umbrella, from which she casts her weather control powers, and her expression is that of a person possessed by a demon. In this sense, there are similarities with the character Lapis Lazuli from Steven Universe, who also had an aesthetic related to the witch stereotype, but within the 1960s–1970s hippie culture. Moreover, Lapis Lazuli’s powers are associated with the occult and evil, as she can control the entire hydrological cycle (Vital, “Water”). The similarities end here, as Lapis Lazuli herself is an alien and water elemental who destabilises and disrupts the attempts of control and domination promoted by the characters representing modern science and the State. However, Climatika uses a technical device (black magic) to control the weather and achieve her revenge goals. She causes catastrophic climatic events and promotes horror in the name of a global order that satisfies her desires. The instrumentalisation that Climatika promotes through black magic subtly brings her closer to the scientists who sought to investigate and control nature for human progress during the early days of the Scientific Revolution. In the sixteenth century, scientists such as Francis Bacon commonly used metaphors involving the torture of witches and the exploitation of nature to uncover their secrets, to control and alter the world for the advancement and well-being of humans (Merchant). However, black magic, whether through a satanic or pagan path, also has anthropocentric roots, manifesting as a tool that humans can use to enforce their intentions or as an internal force available for self-benefit (Thacker 29). In the case of Climatika, the hydrological cycle was understood as a tool responsive to her emotions and supposedly at her service. The presence of the phenomenon brings it closer to the stereotype of the witch serving the forces of evil and can also act as an allegory for the scientist who fulfils the State’s or private corporations’ obscure purposes at the expense of others. Not by chance, Hawk Moth, when transforming Aurore into Climatika, proclaims, “tu vas devenir ma miss méteór” (you will become my weather girl), a sentence that plays on Aurore’s work in scientific journalism for weather forecasts, while the hidden meaning behind the statement is about the witch manipulating the weather. Climatika will boast about being the only weather girl who gets all the forecasts right (as she is the one who influences the weather events). Although Climatika takes an anthropocentric stance towards the climate, her case highlights how hydro-meteorological phenomena affect Aurore Beauréal to the point where she aspires to be the weather girl and, if not possible, to become a witch who controls the hydrological cycle. Aurore, at first, wished to be the spokesperson for meteorology, studying the weather and climate. When she fails, she aspires for more: to become the weather girl, merging herself with meteorological phenomena and using climatic factors to organise the world to satisfy her desires. She appears oblivious to the way the weather affects her, although it is central to her life. She considers herself free and in control of herself and the world. The perception of the modern world as disenchanted, characterised by reason, freedom, and control, results in an alienation from the affective power of non-human phenomena (Bennett). This alienation leads to an arrogant attitude, such as that of Aurore Beauréal, who transforms into Climatika and believes she can finally be recognised as the weather girl with her new hydrokinesis powers. However, despite all the chaos that Climatika promotes by inducing hurricanes, hailstorms, and lightning, dramatically affecting the lives of the inhabitants of Paris and all of France, she fails in the face of Ladybug and Cat Noir. Finally, Aurore will have to deal with the defeat against Mireille Caquet and public censorship for transforming into Climatika, the weather witch. Cosmic Pessimism and Planetary Catastrophe in the Return of Climatika In the seventeenth episode of the third season, there is a prime example of what Aurore Beauréal went through after being defeated and the akumatisation being undone. Her schoolmate, Chloé Bourgeois, publicly humiliates her for having low grades and not having emotional control, becoming a failed villain. Hawk Moth takes advantage of the opportunity left by Bourgeois and tells Aurore that she will always be and continue to grow in power as Climatika, transforming her once again. Being emotionally affected, Climatika’s powers amplify significantly, and she uses volcanic explosions and moves the planet away from the sun’s orbit to cool it down, destroying all of humanity and proving her true power. In this episode, Stormy Weather 2, Climatika manages to establish herself as a global threat, inducing a dramatic climate change. Fear and horror spread throughout the world as people embrace each other to stay alive in the apocalyptic cold. Even the heroes, Ladybug and Cat Noir, feel haunted by the immense power of Climatika and find themselves in an intimate moment reminiscing about all the challenges they have overcome in the past, and the growth they have experienced over time while fighting together against the forces of evil. It is in sharing these memories that they find the power to come together once again, regaining the trust and confidence that help them to face and defeat Climatika. Thus, because of suppressed affections, unfulfilled desires, the combined force of words, and extreme social and meteorological events, negative and selfish emotions emerged and re-emerged, fuelling the return of Climatika—the regional and later planetary climate threat. Moreover, in the case of Ladybug and Cat Noir, the affective power of their bodily and physical encounter generated memories, along with deep positive emotions and words of trust, affection, and unity. These provided the means to change the course of events and prevent the realisation of the climate catastrophe (they no longer felt overcome and could battle Climatika). The two episodes suggest that the emergence of the climate catastrophe is a result of the feelings of disenchantment amongst people in the world and the combination of human alienation from the affective power of things, and the power that events and things gain in their encounters worldwide. The suggestion is the development of an ethics of generosity as a response to climate change that involves sharpening the perception of the affective power of things and encounters between humans in public spaces, as well as between humans and non-humans in everyday life (Bennett). Nonetheless, the episodes Stormy Weather 1 and Stormy Weather 2 display a type of cosmic pessimism perceptible through the emotional failures and revenge of Aurore Beauréal and Climatika. Cosmic pessimism indicates distrust regarding the impossibility of controlling and organising a world that does not require order. This world does not manifest itself for us or in itself but as a world-without-us (Thacker, Cosmic). Control does not make Aurore more respected, although she is feared when she manifests as Climatika. As Climatika, she inflicts on other people the suffering caused by the catastrophic disruption of their routines due to the manifestation of the effects of climate change. Conversely, the disappointment of the double failure to become the weather girl and the subsequent bullying becomes an oppressive reality for Aurore that induces more fear and horror due to her inability of being able to organise the world according to her desires. Thus, climate change is manifested in Miraculous: Tales of Ladybug & Cat Noir as a result of the failed attempt to control the world (represented by the metaphor of black magic) and the impossibility of organising the world according to human desires. Conclusions Ladybug and Cat Noir manage to save the day in the episodes Stormy Weather 1 and Stormy Weather 2. However, the return of Climatika manifests itself as persistence, which suggests two important points. First, heroes or exceptional individuals cannot handle the complexity involved in the climate crisis because the crisis results from multiple factors, including human emotions, under the pressure of a system emphasising competition for prominence, efficiency, and social recognition. Climatika was defeated but returned for the same reason: the primacy of the ideal of success and recognition in a universe of pure abstract value that is based on the alienation of emotions. Second, profound uncertainties arise from the current climate crisis. Anthropogenic climate change is manifested through completely contingent effects, where the expectation of controlling and ordering the world according to human desires is disrupted, resulting in a sense of cosmic pessimism due to the world-without-us feeling. The indifference of the universe to human desires becomes explicit, exposing the failure of the abstraction of self and world control—the foundation of modern ontology and capitalism. Therefore, Climatika highlights climate change as a form of black magic: an intensive attempt to control and manipulate the world driven by selfish feelings that deepen the alienation regarding the power and indifference of the elements that compose the planetary atmosphere. References Aguasanta-Regalado, Miriam E., Ángel San Martín Alonso, and Isabel M. Gallardo-Fernández. “Analysis of the Narratives with Characters That Make Ethnic Diversity Visible—Miraculous: Tales of Ladybug & Cat Noir.” Education Sciences 13.5 (2023): 460-470. Bennett, Jane. The Enchantment of Modern Life: Attachments, Crossing, and Ethics. Princeton UP, 2016. 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