Abstract
This article traces the emergence of a younger generation of Brazilian filmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. One of the most prominent features in these recent works is a questioning of the status of the image, which vacillates between fiction and documentary without a point of resolution. This vacillation can be understood in terms of the performative nature of films like The Monsters, The Residents, The Earth Giveth, The Earth Taketh and Avenida Brasilia Formosa. Such films are centered around improvisations that open up the image to the real. Therefore, these films produce a space between fiction and documentary, between reality and artifice that is productive and politically charged. This article aims at discussing this Brand New Brazilian Cinema (Novisssimo Cinema Brasileiro) and the performative force of bodies in its affective realism. No longer a referent for a sociological truth about Brazilian society, realism is taken as something that the image does, i. e., as an affect that challenges the viewer's response-ability.
Highlights
Abstract his article traces the emergence of a younger generation of Brazilian ilmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender
One reason for the waning importance of this vocabulary is that it has been too oten applied in generalizing approaches that ignore the ilms’ singularities and overlook diverse ailiations. he ilms made by a younger generation of Brazilian ilmmakers, by circumventing traditional themes like urban violence and historical revisionism, do not seem to be concerned with “images of Brazil”, pointing out to post-identity politics that go beyond narratives of nation, class and gender
Such ilms demand a critical efort that looks deeply into each work in order to come to more abstract concepts, avoiding the methodological pitfall that imposes a Procrustean approach where ilms are compelled to follow previously established notions. Because this emergent style deies traditional categories employed to talk about Brazilian cinema, we propose to read its realism and the afective force of bodies through the lens of contemporary theory, in the intersection between philosophy and ilms studies
Summary
Abstract his article traces the emergence of a younger generation of Brazilian ilmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. His vacillation can be understood in terms of the performative nature of ilms like he Monsters (Os Monstros, 2011, directed by Luiz and Ricardo Pretti, Guto Parente, and Pedro Diógenes), he Residents (Os Residentes, 2010, directed by Tiago Mata Machado), he Earth Giveth, he Earth Taketh (Terra Deu, Terra Come, 2010, directed by Rodrigo Siqueira) and Avenida Brasília Formosa (2010, directed by Gabriel Mascaro).
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