Abstract
The existence of a “cinema spirit”, a transcendent essence of movement-image, characterizes the hypermodernity (Lipovetsky e Serroy 2009). In a world simultaneously phagocytosed by cinema and cinephagic itself, the seventh art composes the imaginary of all humanity and integrates the aesthetic unconscious in the 21st century. In this context, cinema can be considered as a matritial form that is expressed in other practices and representations. The influence of film culture is also evidenced in the parades of samba schools in Rio de Janeiro: from metropolitan robots to superheroes, the show repeatedly presents multiple references - textual or visual - to cinema, and plays an important role in the consolidation and transmission of film memory in Brazil. This article proposes, therefore, a reflection on the relations of intertextuality between the parades of the samba schools of Rio de Janeiro and cinematography, in order to understand the various plans according to which the carnival image presents itself as a palimpsest (Genette 1989) of the cinematographic image.
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