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Realismo Sensório No Cinema Contemporâneo Erly Vieira Jr Realismo Sensório No Cinema Contemporâneo Erly Vieira Jr

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Realismo Sensório No Cinema Contemporâneo Erly Vieira Jr Realismo Sensório No Cinema Contemporâneo Erly Vieira Jr REALISMO SENSÓRIO NO CINEMA CONTEMPORÂNEO ERLY VIEIRA JR REALISMO SENSÓRIO NO CINEMA CONTEMPORÂNEO ERLY VIEIRA JR Vitória, 2020 Reitor Paulo Sergio de Paula Vargas Vice-reitor Roney Pignaton da Silva Chefe de Gabinete Zenólia Christina Campos Figueiredo Diretor da Edufes Wilberth Salgueiro Conselho Editorial Carlos Roberto Vallim, Cleonara Maria Schwartz, Eneida Maria Souza Mendonça, Fátima Maria Editora Universitária – Edufes Silva, Giancarlo Guizzardi, Gilvan Ventura da Silva, José Armínio Ferreira, Josevane Carvalho Castro, Filiada à Associação Brasileira Julio César Bentivoglio, Luis Fernando Tavares das Editoras Universitárias (Abeu) de Menezes, Marcos Vogel, Rogério Borges de Oliveira, Sandra Soares Della Fonte Av. Fernando Ferrari, 514 Campus de Goiabeiras Secretaria do Conselho Editorial Vitória – ES · Brasil Douglas Salomão CEP 29075-910 Administrativo +55 (27) 4009-7852 Josias Bravim [email protected] Washington Romão dos Santos www.edufes.ufes.br Seção de Edição e Revisão de Textos Fernanda Scopel, George Vianna, Jussara Rodrigues, Roberta Estefânia Soares Seção de Design Ana Elisa Poubel, Juliana Braga, Samira Bolonha Gomes, Willi Piske Jr. Seção de Livraria e Comercialização Adriani Raimondi, Dominique Piazzarollo, Marcos de Alarcão, Maria Augusta Postinghel, Maria de Lourdes Zampier Este trabalho atende às determinações do Repositório Institucional do Sistema Integrado de Bibliotecas da Ufes e está licenciado sob a Licença Creative Commons Atribuição-NãoComercial-SemDerivações 4.0 Internacional. Para ver uma cópia desta licença, visite http://creativecommons.org/licenses/by-nc-nd/4.0/ Preparação de texto Fernanda Scopel Projeto gráfico Edufes Diagramação e capa Agência Três Criativos Revisão de texto Jussara Rodrigues Dados Internacionais de Catalogação-na-publicação (CIP) (Biblioteca Central da Universidade Federal do Espírito Santo, ES, Brasil) Vieira Jr., Erly. V658r Realismo sensório no cinema contemporâneo [recurso eletrônico] / Erly Vieira Jr. - Dados eletrônicos. – Vitória, ES : EDUFES, 2020. 241 p. Inclui bibliografia. ISBN: 978-65-88077-06-1 Modo de acesso: <http://repositorio.ufes.br/handle/10/774> 1. Cinema. 2. Cinema – Estética. I. Título. CDU: 791.43 Elaborado por Adriana Traspadini – CRB-6 ES-000827/O Esta obra foi composta com a família tipográfica Crimson Text. Agradecimentos Algumas pessoas foram fundamentais para que este livro se concretizasse, e cabe aqui declarar meus mais profundos agradecimentos. Primeiramente, a Denilson Lopes, orientador da tese de doutorado que deu origem a este livro, e aos professo- res Andréa França, João Luiz Vieira, Mariana Baltar e Maurício Lissovsky, que par- ticiparam da banca de defesa – todos trouxeram importantíssimas contribuições e instigantes questionamentos que me nortearam durante todo o processo. Também agradeço aos pesquisadores Juliano Gomes, Patrícia Rabello, Ramayana Lira, Ales- sandra Brandão, Ludmila Carvalho e Ângela Prysthon, pelos comentários e suges- tões recebidos, e em especial a Camila Vieira da Silva, Julio Bezerra, Luiz Carlos Oliveira Jr., André Keiji Kunigami, Lucas Murari e Luisa Marques, por partilha- rem da árdua tarefa de investigar este universo fílmico em comum e por me servi- rem como preciosa referência bibliográfica acerca do cinema contemporâneo e da estética do fluxo. E, claro, sou bastante grato aos alunos que frequentaram a opta- tiva “Estéticas do Cinema Contemporâneo”, ministrada no curso de Comunicação Social da Universidade Federal do Espírito Santo (Ufes) no semestre 2009/2, cujos inflamados debates em sala de aula foram essenciais para o redimensionamento das hipóteses desta pesquisa. Minha gratidão eterna vai para os familiares e amigos que me apoiaram durante essa empreitada, em especial para meu companheiro, Waldir Segundo, e para Heleni Novaes Vieira, Eduardo Freire de Mello (in memoriam), Pablo Cruces, Rodrigo Parra, Letícia Braga, Helena Santos, Maurílio Mendonça, Flávia Carpanedo e, principalmente, ao Tadeu Capistrano e à Gabriela Alves, grandes incentivadores desde a elaboração do projeto de pesquisa. Por fim, agradeço ao Departamento de Comunicação Social da Ufes pelo apoio logístico essencial para o desenvolvimento dessa empreitada, bem como aos progra- mas de pós-graduação em Comunicação (Poscom) e Artes (PPGA) da Ufes, mor- mente ao professor Gaspar Leal Paz, pela oportunidade de continuar aprofundando esse debate em novas disciplinas, orientações de trabalhos e discussões acadêmicas. E um agradecimento mais que especial é destinado aos professores Gabriel Menotti, Klaus’Berg Bragança, Marcus Neves e (novamente!) Gabriela Alves, parceiros de tan- tos trabalhos na Ufes, pelos diversos diálogos estabelecidos nesses últimos anos entre nossos grupos de pesquisa, e que muito têm me ajudado a ampliar diversas das ques- tões presentes neste livro. São diálogos cujos desdobramentos têm operado como intenso farol a nortear e instigar minhas atuais investigações audiovisuais. Sumário Prefácio ...........................................................................................................................8 Apresentação: um outro cinema? .............................................................................12 A estética do fluxo e a emergência do realismo sensório ...................................... 24 Um cinema da realidade? ....................................................................................... 31 Um cinema do tempo presente? ...........................................................................44 As inserções do corpo na esfera cotidiana ............................................................... 51 Repensando o cinema do corpo ............................................................................63 Corpo e mise-en-scène do cotidiano no cinema de fluxo ..................................... 71 A visualidade háptica: um cinema à flor da pele? ................................................83 Corpos, paisagens e heterotopias ..............................................................................92 De passagem: corpos em trânsito nas paisagens urbanas ...................................92 Afetos transitórios: cronotopias e heterotopias da espera .............................. 115 Sobre florestas e rostos: paisagens transbordantes ..........................................129 Tempo, plano e fluxo: algumas anotações sobre o plano-sequência .................136 Corpos e paisagens sonoras no cinema de fluxo .................................................. 161 Dos usos criativos da acusmática e dos pontos de escuta ................................. 167 É possível falar de uma escuta háptica? .............................................................. 177 Coda: sobre o uso de canções populares nas trilhas sonoras ...........................186 Sobre a dimensão transcultural do realismo sensório ........................................194 Referências ................................................................................................................ 201 Fichas técnicas dos filmes analisados ....................................................................220 Prefácio Quando Erly me ligou na manhã daquela quarta-feira e fez o convite para prefaciar seu livro, eu prontamente aceitei. E, mesmo contando com as prerrogativas que só as longas e leais amizades são capazes de proporcionar, não confessei a ele meu receio diante da responsabilidade de apresentar sua obra aos leitores, apesar de tê-lo acompanhado durante sua trajetória na elaboração da tese de doutorado na Escola de Comunicação da Universidade Federal do Rio de Janeiro. Optei, como forma de driblar minha inexperiência, por seguir uma via, também teórica, que hoje nos é comum em nossos projetos de pesquisa: a do afeto. É este, acompanhado da ami- zade e da admiração, que guiará o meu relato. Desde as primeiras conversas que tínhamos sobre sua ideia de pesquisa, a pro- posta de análise de Erly já se mostrava inovadora, muito em função da ausência de bibliografia sobre o tema traduzida para a língua portuguesa: refletir sobre uma ver- tente da produção audiovisual contemporânea comumente classificada pela crítica como cinema de fluxo e, nesse universo, analisar, dentro do intervalo temporal de 1999 a 2009, as obras de dez diferentes cineastas, oriundos das mais variadas tradições: Apichatpong Weerasethakul, Claire Denis, Gus Van Sant, Hou Hsiao-Hsien, Jia Zhangke, Karim Aïnouz, Lucrecia Martel, Naomi Kawase, Pedro Costa e Tsai Ming-Liang. Nesse recorte, novamente ele está presente: o afeto, que por sinal é um termo recorrente ao se tratar da estética do fluxo e de sua dimensão sensível. Em diversos textos críticos, abundam referências à questão dos corpos e afetos/afecções, por uma Realismo sensório no cinema contemporâneo 8 matriz spinoziana ou mesmo deleuziana, ambas abordadas pelo autor na sua pro- posta de reflexão estética e teórica dos 24 filmes que elenca. O processo de análise desse corpus fílmico é guiado pela constante indagação do autor a respeito de quais são as características, no contexto do cinema de fluxo, desse novo realismo, marcadamente de caráter sensório – qual o papel do corpo nesse uni- verso de sensações, em especial como mediador, em termos tanto espaciais quanto temporais e sonoros? Como os filmes dessas diretoras e diretores dialogam e cons- troem experiências estéticas espectatoriais tão peculiares, capazes de atentar para a variedade de tempos e ritmos simultâneos da esfera cotidiana? As respostas a essas questões são o fio condutor pelo qual Erly nos conduz a
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