Abstract
This essay intends to analyze three moments in which two aesthetics become hybrid: in the short Como se morre no cinema (Luelane Correa, 2001), a rereading of the “hunger aesthetics” in postmodernist version; in the feature film Ladroes de sabonete (Maurizio Nichetti, 1989), a counterpoint between neo-realist aesthetics and publicity; and in Dogville (Lars von Trier, 2004), considered “fusion cinema” within the Dogma proposal. I intend to work with Baudrillard's concept of hyperreality, Deleuze-Guattari' s notions of rhyzome, Kristeva s approach of intertextuality, Eco s concept of open work, and Bahktin's notion of dialogism.
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