Abstract
A long trip (2012), by Lúcia Murat, turns the screen into a postcard, video art, live cinema, installation, photo album, letter, map ... It works as a register of an era as ‘transcinema’. The film mixes past and present, reality and fiction, to recount the steps of Heitor, the filmmaker’s brother, who was sent abroad in 1969 by the family in fear that he would follow Lúcia’s footsteps in the armed struggle. It’s updates the cinematographic devices and turns the viewer into a co-author. Filled with hybrids, it enlarges the possibilities of the ‘cinema form’, expanding it. Digital features allow for a strong ‘between-the-images’, uniting projections of differents supports, temporalities, spatialities and cultures.The nine years when Lúcia and Heitor were apart _ when he took two trips around the world, while she was trying to survive under the oppression of the military regime _ function also as a way to highlights the memories of an obscure period in Brazil. It creates a paradoxical and synaesthetic immersion at the 70’s, where “getting lost seemed to be the only way to find oneself”. Under the effect of an ‘endless eye’, it generates a powerful ‘trompe l’oeil’ that broadens horizons. ‘Infinite lucarne’ lead the viewer to fill in the gaps in a psychedelic kaleidoscope and to experience the film as an observer who atones for this generation’s deeds. The goal of this work is to analyze these constructions and identify how this language helps promote immersion in the film, which works with memory.
Highlights
A long trip (2012), by Lúcia Murat, turns the screen into a postcard, video art, live cinema, installation, photo album, letter, map. It works as a register of an era as ‘transcinema’
It’s updates the cinematographic devices and turns the viewer into a co-author. It enlarges the possibilities of the ‘cinema form’, expanding it
The nine years when Lúcia and Heitor were apart _ when he took two trips around the world, while she was trying to survive under the oppression of the military regime _ function as a way to highlights the memories of an obscure period in Brazil
Summary
Fotográfico e fílmico de uma época, em que “se perder parecia ser o único meio de se encontrar”, Como um viajante a espiar e expiar também de forma potente a travessia recente da geração dos anos 70, o espectador percebe o universo recriado pela memória de Lúcia e Heitor, protagonista do filme, plasmado nas imagens que passam no filme dentro do filme. Ao trabalhar sobretudo com a memória dos anos 70, a partir do relato da história real de seu irmão, que atravessou o mundo duas vezes naquela década, Lúcia constrói o retrato de toda uma geração, espremida entre o desejo de liberdade e a opressão das revoluções políticas, culturais e de costumes do pós-anos 60.
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
