Article
Based on the analysis of scenes from the film F for fake (1973) by Orson Welles, the text seeks to investigate the role of sound thinking in the creation of the atmosphere of artifice and fakery proposed by the film. Observing part of Welles’ artistic trajectory, the reflection emphasizes how sound thinking played a fundamental role in his works, from the remarkable radio performance War of the worlds (1938), culminating in the more experimental F for fake. Among the resources used by Welles in the sound composition of the film are the overlapping of voices and noises and the juxtaposition of sound fragments extracted from different scenes, composing a mosaic of sounds that acts in the creation of the multiple- layered atmosphere from which the film is built. The strategies used by Welles in F for fake indicate paths in the construction of what we call “fake effects”, a conceptual ramification of the notion of “presence effects” elaborated in the writings of Josette Ferál (2012). In addition, the text develops reflections on the fundamental role of sound design – as well as the insertion of moments of silence – in Welles’ works based on the theoretical support of Débora Opolski, Michel Chion and Jonathan Rosenbaum.
Article
This article sought to deepen the notion of a self-defense dispositive based on the analysis of Brazilian artist Ana Flávia Cavalcanti’s performative work. We start from Elsa Dorlin's theoretical support on the theme of self-defense and, based on the foundations offered by Cavalcanti's performance, we seek to raise questions about the concept of male gaze elaborated by Laura Mulvey, in addition to investigating performative practices that highlight gender violence. The text also sought to analyze other artistic works that address the representation of women in public space, regarding walking and occupying the streets as gestures of self-defense, suggesting a dimension of insurrection and uprising bodies.
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The article sought to analyze perspectives on the effects of falsehood based on reflections on B for Beatriz SIlveira's play and its creation process that took place remotely in 2021. Reflecting on aspects of the process such as collective film analyses, the creation of scenes with dubbing devices and the creation of a common vocabulary on the concept of falsehood and falsification, the article focused on the creation of an artistic-pedagogical space in which participants could freely explore the creation of scenes and critical analysis tools. The reflections were carried out in dialogue with Joséte Feral and the effects of presence, Giorgio Agamben and the screen as an invisible “material” obstacle and the films F for Fake (1973) by Orson Welles and City of Dreams (2001) by David Lynch in their elaborations on the false.
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In this article we continue the investigations into the concept of self-defense and its potential within the artistic and pedagogical field based on the analysis of the record of an event that occurred at the end of 2021 in Rio de Janeiro, which went viral for a few days and called our attention as an action of self-defense.
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Near Judgment Day, a prophet and a prophet meet to talk about politics, religion and violence.
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In this article we thought about some hypotheses to analyze, in a theatrical work, the potential of a political event, which, when it comes to light, can transform the subjects involved in it. We intend to propose a field of ideas based on a theoretical reading of the play When it brakes, it burns performed by Coletiva Ocupação in light of the notion of subjects and their political bodies and José Sanchéz's concept of crowd theater.