Publicação
Cinema na pós-modernidade: Os imaginários barroco, trágico e grotesco nos filmes América e La Piel Que Habito
| Resumo: | Films allow us to understand how far our projections go. Virtual worlds, complex realities, fragmentation of relationships, plots with no promise of happy ending are some of the characteristics of the contemporary cinema. The evolution without limits of the new technologies contributed to the creation of parallel worlds, imaginary beings and, in certain films, with identifications with the reality that provide sensations that come to thrill us. This paper aims to discuss the ways that lines the film today, analyzing two films, one Spanish and one Portuguese: America, by Joa?o Nuno Pinto (2010) and The Skin I Live In by Pedro Almodo?var (2011). Indeed the specificities of post-modernity are present in greater or lesser degree in the analyzed movies and the concepts proposed by MARTINS (2011) featuring the imagery in this context appear to be lenses that help us understand who we are today, based on our screen projections and identifications. |
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| Autores principais: | Macedo, Isabel |
| Assunto: | imaginary postmodernity cinema imaginário pós-modernidade cinema |
| Ano: | 2012 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Instituição associada: | Associação Portuguesa de Ciências da Comunicação |
| Idioma: | português |
| Origem: | Revista Comunicando |
| Resumo: | Films allow us to understand how far our projections go. Virtual worlds, complex realities, fragmentation of relationships, plots with no promise of happy ending are some of the characteristics of the contemporary cinema. The evolution without limits of the new technologies contributed to the creation of parallel worlds, imaginary beings and, in certain films, with identifications with the reality that provide sensations that come to thrill us. This paper aims to discuss the ways that lines the film today, analyzing two films, one Spanish and one Portuguese: America, by Joa?o Nuno Pinto (2010) and The Skin I Live In by Pedro Almodo?var (2011). Indeed the specificities of post-modernity are present in greater or lesser degree in the analyzed movies and the concepts proposed by MARTINS (2011) featuring the imagery in this context appear to be lenses that help us understand who we are today, based on our screen projections and identifications. |
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