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UNIVERSIDADE DE SÃO PAULO Departamento De Cinema, Rádio E

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UNIVERSIDADE DE SÃO PAULO Departamento De Cinema, Rádio E UNIVERSIDADE DE SÃO PAULO Departamento de Cinema, Rádio e Televisão, ECA Relatório Científico referente à pesquisa: Narrativas de dissolução. Problemas contemporâneos para o conceito de cinematografia nacional NÍVEL: PÓS-DOUTORADO BOLSISTA: Lúcia Ramos Monteiro SUPERVISOR: Prof. Dr. Eduardo Victorio Morettin FOMENTO: FAPESP 01/01/2016 a 31/12/2017 Processo nº 2015/21531-0 1 SUMÁRIO I. Resumos I.A) Resumo do plano inicial I.B) Resumo do trabalho realizado II. Descrição das atividades acadêmicas desenvolvidas II.A) Trabalhos publicados desde o início da bolsa de pós-doutoramento 1. Organização de livros 2. Capítulos de livro 3. Artigos em periódicos científicos 4. Entrevistas 5. Organização de dossiês em periódicos científicos 6. Trabalhos completos em anais de congressos científicos 7. Resenha 8. Traduções 9. Artigos de divulgação II.B) Organização de eventos (colóquios e mostras) II. C) Participação em congressos e simpósios II.D) Participação em grupos de pesquisa II. E) Participação em aulas e cursos II.F) Participação em bancas II. G) Participação em debates e mesas redondas II.H) Pareceres III. Apresentação de resultados Introdução Cap. I - Cinema geológico, primeiros estratos: filmar à beira do abismo. Cap. II - Longa duração e visibilidade do ínfimo Cap. III - Da margem ao centro: longa duração e experiência espectatorial Cap. IV - De como cindir o tempo. Análise e duração Cap. V - Das narrativas de fundação às narrativas de dissolução. Identidades nacionais no contemporâneo Cap. VI - X-Wood contra os cinemas nacionais Considerações finais IV. Referências consultadas V. Anexos 2 I. Resumos I.A) Resumo do plano inicial Este projeto propõe pensar a questão do “nacional” dentro do cinema contemporâneo. Em um momento de crise nos conceitos de “nação” e “nacionalismo”, essas noções continuam sendo usadas no cinema, tanto pela historiografia e pelos estudos cinematográficos quanto por festivais e retrospectivas. Em contraponto às chamadas “narrativas fundacionais” (SOMMER, 2004), que entrelaçavam felicidade doméstica e ideal nacional, nos filmes a serem estudados as esferas “individual” e “nacional” continuam ligadas, mas em chave negativa. Por essa razão, propomos o conceito de “narrativas de dissolução nacional”, cuja validade deve ser comprovada (ou recusada) com base nas análises fílmicas, no exame aprofundado da bibliografia e na reflexão teórica. O corpus preliminar é formado por produções oriundas de países “não-centrais” no cânone cinematográfico – Brasil, China, Equador, Filipinas, Taiwan –, cuja visibilidade se situa sobretudo no âmbito de festivais internacionais e da crítica especializada. Os filmes escolhidos interrogam questões nacionais com base em códigos estabelecidos pelas “narrativas fundacionais”, subvertendo-os. Entre as hipóteses preliminares, está a relação entre esse interesse pela crise da ideia de nação, crise de identidade nacional, e uma suposta crise do cinema, numa época em que os suportes digitais de gravação e exibição se tornam predominantes e em que o cinema enquanto instituição e lugar físico deixa de ter prevalência nas formas de fruição da imagem em movimento (GAUDREAULT e MARION, 2013). 3 I.B) Resumo do trabalho realizado Questões ligadas a identidade nacional, nacionalismo e cinematografias nacionais foram trabalhadas em análises dos filmes do corpus1 alimentadas por discussões teóricas e históricas desses termos, e precisaram ser revistas à luz de novos acontecimentos políticos e cinematográficos. A duração de boa parte das obras estudadas, acima das convenções2, revelou-se uma interessante e frutífera categoria analítica, merecedora de investimento inclusive pela necessidade de uma maior atenção por parte dos estudos cinematográficos para com a temporalidade dos objetos (MROZ, 2012). Se a análise de filmes longos ou extremamente longos retardou, por um lado, o andamento do presente trabalho, como exposto no relatório de renovação, por outro lado, observamos que a duração estendida e o ritmo ralentado dos filmes do corpus favorecem uma postura espectatorial diferente, com uma atenção mais difusa, consciente do que se passa na periferia do quadro, no fundo da imagem e mesmo fora dos limites da tela. Além de ter exigido uma revisão metodológica, substituindo o close-reading pelo trabalho com “blocos incertos de memória”, reeditando de maneira transformada a “inencontrabilidade” do texto fílmico percebida por Raymond Bellour nos anos 1970 (1979; 2011), conforme já exposto no relatório intermediário, a conclusão do trabalho sinaliza para uma nova hipótese: a expansão da atenção, de forma a dar conta dos tempos longos e de fenômenos (quase) imperceptíveis, estaria entre as bases daquele que propomos chamar de cinema geológico3. Dedicado a pensar o cinema contemporâneo, este trabalho precisou lidar com o impacto que eventos políticos e cinematográficos, mais ou menos imprevisíveis, ocorridos no intervalo da pesquisa (de 2015 a 2019) tiveram em nossas argumentações. É preciso acrescentar nuances à premissa inicial, de crise nos 1 Canção para um triste mistério (Hele sa hiwagang hapis, Lav Diaz, Filipinas, 2016), As mil e uma noites (Miguel Gomes, Portugal, 2015), As montanhas se separam (Shan he gu ren, Jia Zhang-ke, 2 A noção de “duração convencional” é sabidamente problemática, tendo sofrido variações ao longo da história do cinema, como demonstra, por exemplo, De Luca (2017). 3 Aproprio-me, aqui, da tensão existente entre o tempo histórico, marcado por acontecimentos que levam em conta a escala da vida humana e da humanidade, e o tempo geológico, contado de acordo com eras geológicas, longas demais para poderem ser percebidas pela espécie humana. Essa tensão, presente no pensamento de Fernand Braudel, que defendia uma história atenta à longa duração, está no centro dos questionamentos trazidos à tona por teóricos do Antropoceno. O cinema geológico, desse modo, seria caracterizado pela presença de tempos longos e pelo favorecimento da atenção a fenômenos a priori imperceptíveis, como os efeitos da ação humana no planeta, entre outros elementos, como será exposto neste relatório. 4 conceitos de "nação" e "nacionalismo", e as colocações sobre o enfraquecimento do "nacional" enquanto categoria produtiva para pensar o cinema no século XXI, tendo em vista que a história não prossegue de maneira linear, e levando em conta o jogo de forças ainda em vigor no estágio avançado do capitalismo internacional e a situação específica de cinematografias nacionais. No caso específico do cinema brasileiro, o desmonte em curso das instâncias federais de fomento, se enfraquece a produção, confere uma nova coesão a um conjunto que tendia a diluir-se. Na nova geopolítica do cinema, a ressurgência dos fascismos no mundo e suas consequências especificamente no âmbito do cinema brasileiro constituem elementos novos, de modo que posições defendidas em artigos realizados e no relatório de renovação precisaram ser revistas, não com vistas a um descarte em bloco, mas pela necessidade de formulações menos taxativas. Se o critério da "coerência entre um grande número de filmes" (Rosen, 2006, p. 18, nossa tradução), chave para as "cinematografias nacionais", pareciam pouco operatórios até pouco tempo, o embate, especificamente no caso brasileiro, entre o governo do país e o cinema nacional como um todo, parecem conferir uma nova atualidade e necessidade à categoria nacional, como a garantir a coerência e a coesão que faltavam. A metodologia empregada baseou-se em uma abordagem tripla: a um primeiro nível, voltado para o estudo de fenômenos culturais e históricos, somou-se um segundo, focado nas análises estéticas. Do entrecruzamento entre os dois primeiros níveis, emerge, num terceiro, a necessidade de questionar a forma de estruturação dos cânones historiográficos do cinema e, num movimento alternativo a tais cânones, o estabelecimento de uma constelação de obras que não somente escapam a centralidades pré-estabelecidas, mas que colocam em xeque a própria maneira como os cânones vêm sendo constituídos. 5 II. Descrição das atividades acadêmicas desenvolvidas no período II.A) Trabalhos publicados desde o início da bolsa de pós-doutoramento 1. Organização de livros • ADAMATTI, Margarida; AGUIAR, Carolina Amaral; CARVALHO, Danielle Crepaldi; MONTEIRO, Lúcia Ramos; VILLAÇA, Mariana (orgs.). Cinema, estética, política e dimensões da memória. Porto Alegre: Sulina, 2019 (215 p.). • MONTEIRO, Lúcia Ramos (org.). África(s). Cinema e memória em construção. São Paulo: Buena Onda, 2018 (188 p.). • ADAMATTI, Margarida; AGUIAR, Carolina Amaral; CARVALHO, Danielle Crepaldi; MONTEIRO, Lúcia Ramos; MORETTIN, Eduardo (orgs.). Cinema e história. Circularidades, arquivos e experiência estética. Porto Alegre: Sulina, 2017 (440 p.). • MONTEIRO, Lúcia Ramos; SCHULMANN, Clara; GIANNOURI, Evgenia; CASTRO Teresa (orgs.). Palmanova. Paris: Éditions Formes, 2016 (146 p.). • AGUILERA, Yanet; BARRENHA, Natália Christofoletti; MONTEIRO, Lúcia Ramos (orgs.), Imagens de um continente. São Paulo: Fundação Memorial da América Latina, 2016 (ebook). • MONTEIRO, Lúcia Ramos. A Caliwood de Luis Ospina. Cinema colombiano de vanguarda (catálogo de retrospectiva). Rio de Janeiro: Buena Onda/Caixa Cultural, 2017 (128 p.). • MONTEIRO, Lúcia Ramos. África(s). Cinema e revolução (catálogo de mostra de filmes). São Paulo: Buena Onda/Caixa Cultural, 2016 (196 p.). 6 Observações: No período final da bolsa de pós-doutoramento, posteriormente ao relatório de renovação, participei da organização de duas coletâneas de textos. Organizado por cinco pesquisadoras ligadas
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