| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 390.49 KB | Adobe PDF |
Advisor(s)
Abstract(s)
Este ensaio toma como fontes essenciais tanto o pensamento da cineasta Petra Costa – expresso verbalmente em artigos, entrevistas, etc. –, quanto os resultados estilísticos de sua recente e ainda não muito extensa obra, notadamente em Olhos de Ressaca (2009), Elena (2012) e Olmo e a Gaivota (2014), uma vez que, conforme afirma a própria realizadora, são estes filmes que guardariam uma consciência sobre seu fazer fílmico e a construção de uma linguagem própria. Partimos da hipótese de investigação de que há um encontro singular entre pensamento e atos criativo-artísticos em Petra Costa que aponta para a construção de uma ética-estética da existência, no sentido dado pelos estudos de Michel Foucault sobre as artes da existência, reverberando um fazer-pensar cinema – na constituição de uma filmografia que poderíamos chamar de um cinema-escrita de si – que tem buscado uma (re)invenção de si nas memórias que atravessam a cineasta como mulher-singularidade e como mulher-coletividade, por meio de uma tessitura da vida na obra de arte e como obra de arte.
As our primary sources, this essay considers both the thought of filmmaker Petra Costa - verbally expressed in articles, interviews, etc. - and the stylistic results of her recent and not very extensive filmography, notably in Undertow Eyes (Olhos de Ressaca, 2009), Elena (2012), and Olmo and the Seagull (Olmo e a Gaivota, 2014), since, according to the director herself, these are films that would keep an awareness of her filmmaking and the construction of her own language. Therefore, our initial premise is that there is a unique encounter between thought and artistic-creative acts in Petra Costa that, in its turn, moves forward to the construction of an aesthetic-ethic of existence, as suggested by Michel Foucault’s studies on the arts of existence, reverberating a philosophical cinema – on the constitution of a filmography that we could call a cinema-writing of herself - that has looked for a (re)invention of herself on the memories of a woman-singularity and a womancolectivity, through the texture of life in an artwork and as an artwork.
As our primary sources, this essay considers both the thought of filmmaker Petra Costa - verbally expressed in articles, interviews, etc. - and the stylistic results of her recent and not very extensive filmography, notably in Undertow Eyes (Olhos de Ressaca, 2009), Elena (2012), and Olmo and the Seagull (Olmo e a Gaivota, 2014), since, according to the director herself, these are films that would keep an awareness of her filmmaking and the construction of her own language. Therefore, our initial premise is that there is a unique encounter between thought and artistic-creative acts in Petra Costa that, in its turn, moves forward to the construction of an aesthetic-ethic of existence, as suggested by Michel Foucault’s studies on the arts of existence, reverberating a philosophical cinema – on the constitution of a filmography that we could call a cinema-writing of herself - that has looked for a (re)invention of herself on the memories of a woman-singularity and a womancolectivity, through the texture of life in an artwork and as an artwork.
Description
Keywords
Mulheres Cineastas Petra Costa Estética da Existência
Citation
Pereira, Ana Catarina e Nogueira, Juslaine Abreu (2018) A Reivenção de Si e a Construção da Alteridade Perante o Irreversível: O cinema de Petra Costa. Em: Revista Científica / FAP. UNESPAR. Universidade Estadual do Paraná - Brasil. Volume 18, janeiro/junho 2018. ISSN: 1980-5071.
Publisher
Revista Científica / FAP. UNESPAR. Universidade Estadual do Paraná - Brasil