{"id":1793,"date":"2019-09-12T11:23:49","date_gmt":"2019-09-12T10:23:49","guid":{"rendered":"https:\/\/research.reading.ac.uk\/intermidia\/?page_id=1793"},"modified":"2021-09-15T11:51:56","modified_gmt":"2021-09-15T10:51:56","slug":"publications","status":"publish","type":"page","link":"https:\/\/research.reading.ac.uk\/intermidia\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"

Previewed below is the full list of\u00a0books<\/strong>,\u00a0video essays<\/strong><\/a>\u00a0and\u00a0online\/journal publications<\/strong>\u00a0produced by the IntermIdia Project.<\/p>\n

Books\/Catalogues<\/strong><\/p>\n\n\n\n\n\n\n
\"\"<\/td>\nScreen Dossier, Volume 60, Issue 1, Spring 2019<\/a>
\n<\/strong>The entirity of the first of 2019s Screen Dossier was written by IntermIdia Project colleagues. It features 5 articles:\u00a0Intermediality in Brazilian cinema: the case of Tropic\u00e1lia Introduction<\/em>\u00a0by\u00a0L\u00facia Nagib<\/span>\u00a0and\u00a0<\/span>Stefan Solomon<\/span>,\u00a0Devouring images: H\u00e9lio Oiticica\u2019s anthropophagic quasi-cinemaby<\/em>\u00a0by\u00a0Alison Butler,\u00a0<\/span>\u2018The cloak of technicolor\u2019: intermedial colour in Ant\u00f4nio das Mortes\u00a0<\/em>by\u00a0Stefan Solomon,\u00a0<\/span>Between film and photography: the bubble of blood in \u2018The Family of Disorder\u2019\u00a0\u00a0<\/em>by\u00a0Albert Elduque, and\u00a0<\/span>Multimedia identities: an analysis of \u2018How Tasty Was My Little Frenchman\u2019\u00a0<\/em>by\u00a0L\u00facia Nagib<\/span>.<\/td>\n<\/tr>\n
\"\"<\/td>\nSilent Film Prologues From Brazil\u00a0<\/strong>(2019)
\nThe first restaging of the Brazilian movie prologues took place on 30 June 2018 at Museu da Imagem e do Som (MIS-SP), by the theatre troupe Companhia Antropof\u00e1gica. At the Minghella Studios on the 6th<\/sup>\u00a0and 7th<\/sup>\u00a0of December, UK audiences experienced the restaging of two Silent Movie Prologues, together with a screening of the films they were designed to accompany: Buster Keaton\u2019s wonderful comedy feature\u00a0Go West<\/em>\u00a0(US, 1925) and the surviving fragment of another extraordinary 1920s film,\u00a0Beggar on Horseback<\/em>\u00a0(US, James Cruze, 1925). The event featured an accompanying catalogue produced by Prof. John Gibbs and Prof. Luciana Corr\u00eaa de Ara\u00fajo. Available on request (l.nagib@reading.ac.uk).<\/td>\n<\/tr>\n
\"\"<\/td>\nContemporary Brazilian Music Film<\/strong>\u00a0(2018)
\nThe full PDF of Albert Elduque Busquets\u2019 catalogue, \u2018Contemporary Brazilian Music Film<\/em>\u2018, is now available for free here.<\/a>\u00a0The PDF has one small section omitted. The printed and bound catalogue itself is not available for purchase. There are some printed copies available however; if you are interested in acquiring one of these, please contact intermidia@reading.ac.uk.<\/td>\n<\/tr>\n
\"\"<\/td>\nTropic\u00e1lia and Beyond<\/strong>\u00a0(2017)
\nWe are pleased to announce that Stefan Solomon\u2019s introduction to\u00a0Tropic\u00e1lia and Beyond: Dialogues in Brazilian Film History<\/em>\u00a0(Berlin: Archive Books, 2017) is now available as a free download! If you like what you read\u00a0here<\/a><\/strong>, please consider purchasing the collection of 22 essays, interviews, and manifestos through\u00a0Archive Books<\/a>.
\nThe season also came with an accompanying catalogue, available on request (l.nagib@reading.ac.uk). \"\"<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Online\/Journal publications\/Video Essays<\/strong><\/p>\n

\n

2019<\/h2>\n
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\"\"<\/td>\nMultimedia identities: an analysis of How Tasty Was My Little Frenchman<\/a>
\nL\u00facia Nagib,Screen, 60 (1), 2019
\nThis essay draws on tropicalist intermediality as a means to gain a deeper insight into the political contribution made by the film\u00a0How Tasty Was My Little Frenchman<\/em>, directed in 1970 by Cinema Novo exponent, Nelson Pereira dos Santos, and first screened in 1971. I argue that, beyond the film\u2019s sensational focus on cannibalism, its intermedial relations, under the influence of Tropicalism, bring about a new dimension of hybridity and transnationalism hitherto absent from the Cinema Novo agenda.\u00a0How Tasty Was My Little Frenchman<\/em>\u00a0presents a distinctive multiperspectival structure derived from the self-revealing and self-standing form in which its raw materials are shown. For example, Hans Staden\u2019s book was not only a source for the fictional plot, but actual chunks of its text are displayed, alongside sixteenth-century drawings, letters, poems, decrees and testimonials by French and Portuguese colonizers, in the form of title cards or voiceover commentary, often in contradiction with the images and between themselves, thus multiplying the narrative layers that preserve their own, original semantic agency. This Tropic\u00e1lia-inspired multimedia procedure not only disregards the attachment to medium specificity that had hitherto characterized political cinema in Brazil, but also deconstructs the unified figure of the auteur, held as the supreme creator in the early Cinema Novo days. I examine the possible political utopia contained in the film\u2019s hybrid form, which opens up to a supranational view of the world in which humans, whatever their origin or standing, become mere vessels of their cultural capital.<\/td>\n<\/tr>\n
\"\"<\/td>\nDevouring images: H\u00e9lio Oiticica\u2019s anthropophagic quasi-cinema<\/a>
\nAlison Butler, Screen, 60 (1), pp. 128-136\u00a0(2019)
\nBetween 1970 and 1978, while living in New York City, the Brazilian artist H\u00e9lio Oiticica, working with filmmaker Neville d\u2019Almeida, conceived a series of projected image installations entitled\u00a0Cosmococas<\/em>. This essay considers these works in relation to their historical moment, as an alternative conception of expanded cinema, influenced by North American practices but inflected by Oiticica\u2019s own cultural formation and his engagement with the Tropic\u00e1lia movement. Key to this alternative conception is Oiticia\u2019s use of separate media elements which interrelate via the body of the spectator, and his use of still images, to which, like his\u00a0parangol\u00e9s<\/em>\u00a0(capes, banners and tents made from layers of painted fabric and other materials) the spectator-performer brings movement. In contrast to the North American conception of expanded cinema as immersive multimedia, Oiticica theorized his work as \u2018quasi-cinema\u2019, a fragmentary form that explodes film into \u2018moment-frames\u2019, negating \u2018the unilateral character of cinema spectacle\u2019 in order to create a space for active participation of a kind not normally associated with cinema. Across a variety of his writings, including theoretical texts and personal correspondence, Oiticica repeatedly describes media as \u2018devouring\u2019. Writing about the television set included in his\u00a0Tropic\u00e1lia<\/em>\u00a0installation, he describes a \u2018terrible feeling [\u2026] of being devoured by the work\u2019. The inclusion in the\u00a0Cosmococas<\/em>\u00a0of images of cultural icons who died at the height of their fame \u2013 Jimi Hendrix and Marilyn Monroe \u2013 resonates with this notion of mass media devoration. The intermedial strategies deployed by Oiticica in his quasi-cinema projects are essentially anthropophagic, absorbing North American media images and forms as a way of preventing the culture of his host nation from devouring him.<\/td>\n<\/tr>\n
\"\"<\/td>\nIntroduction to the dossier: Brazilian cinema in the neoliberal age (O cinema brasileiro na era neoliberal).<\/a>
\nL\u00facia Nagib, RL Sousa, AS Brand\u00e3o, Aniki: Portuguese Journal of the Moving Image, 5 (2), pp. 306- 310, 2019
\nO fim dos regimes autorit\u00e1rios e a instaura\u00e7\u00e3o de democracias neoliberais na Am\u00e9rica Latina, na virada entre as d\u00e9cadas de 1980 e 90, deu margem ao renascimento cinematogr\u00e1fico em v\u00e1rios pa\u00edses da regi\u00e3o, notadamente Argentina, M\u00e9xico e Brasil. As raz\u00f5es desse fen\u00f4meno (chamado de \u201cRetomada do Cinema Brasileiro\u201d no Brasil) foram diversas, entre elas a explos\u00e3o de escolas de cinema na Argentina; a privatiza\u00e7\u00e3o dos meios de produ\u00e7\u00e3o no M\u00e9xico; a redistribui\u00e7\u00e3o dos recursos da extinta Embrafilme pelo Pr\u00eamio Resgate do Cinema Brasileiro e a introdu\u00e7\u00e3o da Lei do Audiovisual em 1993, no Brasil (Dennison, Nagib e Shaw 2003).\u00a0Continue reading\u2026<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nPassages: travelling in and out of film through Brazilian geography<\/a>
\nL\u00facia Nagib, Rumores: Revista Online de Comunica\u00e7\u00e3o, Linguagem e M\u00eddias, 24 (12), pp. 19-40., 2019. ISSN 1982677X
\nA rela\u00e7\u00e3o entre o cinema e o real \u00e9 provavelmente a quest\u00e3o mais central e complexa nos estudos cinematogr\u00e1ficos. Neste artigo, tentarei abordar esta quest\u00e3o por meio da an\u00e1lise de uma sele\u00e7\u00e3o de filmes em que dispositivos intermidi\u00e1ticos, isso \u00e9, o emprego no interior do filme de formas art\u00edsticas como pintura, teatro e m\u00fasica, parecem funcionar como uma \u201cpassagem\u201d para a realidade pol\u00edtica e social. Para tanto, irei focalizar casos exemplares da produ\u00e7\u00e3o de S\u00e3o Paulo e Pernambuco, representados por filmes de Beto Brant, Cl\u00e1udio Assis, Tata Amaral, Paulo Caldas e Marcelo Luna, a fim de demonstrar os valores compartilhados por eles em determinado contexto hist\u00f3rico e os la\u00e7os geogr\u00e1ficos que estabeleceram atrav\u00e9s do Brasil.<\/td>\n<\/tr>\n
\"\"<\/td>\nIntroduction to dossier: Intermediality in Brazilian cinema:\u00a0 The Case of Tropic\u00e1lia\u00a0<\/a>
\nL\u00facia Nagib, Stefan Solomon, Screen, 60 (1),\u00a02019
\nThe contributors to this proposed dossier are investigators on the AHRC-FAPESP funded Intermidia Project, which explores the uses and possible advantages of intermediality as a historiographic method applicable to cinema in general, and Brazilian cinema in particular. The choice of the artistic movement known as \u2018Tropic\u00e1lia\u2019 or \u2018Tropicalism\u2019 as the dossier\u2019s common thread is due, in the first place, to its strong reliance on intermediality. This short-lived movement, stretching for a few years between the late 1960s and the early 1970s, unleashed a veritable artistic and political earthquake whose aftershocks can be felt up to today, as testified by the multiple celebrations of the movement\u2019s 50th anniversary in 2017 taking place all over the world.<\/td>\n<\/tr>\n
\"\"<\/td>\nBetween film and photography: the bubble of blood in \u2018The Family of Disorder\u2019<\/a>
\nAlbert Elduque Busquet, Screen, 60 (1), 2019
\nFounded within the context of the Brazilian military dictatorship, the film company Belair was one of the most radical attempts to cultivate a cinema in the spirit of Tropicalism: its works are distinguished by parodies of genre filmmaking, a carnivalesque celebration of the body, and a profound investment in subversive politics. Led by filmmakers Rog\u00e9rio Sganzerla and J\u00falio Bressane and actress Helena Ignez, Belair produced six films between January and March 1970, when the team was forced into exile.\u00a0A Fam\u00edlia do Barulho<\/em>\/The Family of Disorder<\/em>, directed by Bressane, contains one of the most striking sequences in all of Belair\u2019s productions. Its portrait of a nuclear family in constant tension ends up with the three main characters looking straight into the camera and suffering in front of an unknown, invisible danger: a young man has a wound on his face; another covers his face with his hands in a liminal state; and a woman, played by Ignez, vomits a bloody slobber. Following Brigitte Peucker\u2019s exploration of the relationship between cinema\u2019s impurity, stillness and the cinematic body, as well as Raymond Bellour\u2019s analysis of some\u00a0dispositifs<\/em>\u00a0that anticipated the movement of cinema from the immobility of death, I argue that these images exist in a territory between different media, and between life and death: they are intersections of the liberating dynamism of cinema and the enforced stillness of photography, which evokes police mugshots, the menace of firing squads, and the ghostly quality of wax figures. I focus particularly on the case of Ignez and her bloody mouth, which chime with the tropicalist exploration of the grotesque and the intermedial quality of the cinematic body.<\/td>\n<\/tr>\n
\"\"<\/td>\n\u2018The cloak of technicolor\u2019: intermedial colour in Ant\u00f4nio das Mortes<\/a>
\nStefan Solomon, Screen, 60 (1), 2019
\nWhile shooting O\u00a0drag\u00e3o da maldade contra o santo guerreiro<\/i>\/Ant\u00f4nio das Mortes<\/i>\u00a0in 1969, Glauber Rocha turned to colour film. Although it was not the first time he had worked with colour, here the director made special use of Eastmancolor technology in bringing to life the world of\u00a0Deus e o diabo na terra do sol<\/i>\/Black God, White Devil<\/i>\u00a0(1964) that had previously appeared only in black-and-white. In his earlier manifesto, The Aesthetics of Hunger\u2019 (1965), Rocha had suggested that the cloak of technicolor\u2019 would not conceal Brazil\u2019s social problems, but would rather aggravate them; in this context, his use of colour does not appear as a simple capitulation to the allure of foreign productions, but instead as part of an even deeper concern for the plight of his nation. While in part motivated by the potential to depict his country with an even greater degree of accuracy, Rocha also pointed to the similarities between film and painting in making the switch to colour, and professed an interest in the visual integration of colour with music and dance\u2019. The intermedial comparison is an intriguing one, especially considering that while filmmakers like Rocha were reaching for a greater sense of realism, visual artists in Brazil like Helio Oiticica were following a more conceptual trajectory where colour was concerned. In this environment, emergent forms of chromatic stock in Brazilian cinema in the late-1960s captured both the non-representational and realist aspects of colour, its supplementarity and its indexical connections to the world. Following recent work on intermediality and colour by Sarah Street and Joshua Yumibe, this article considers how the use of new colour technology in Glauber Rocha\u2019s filmmaking resonated with certain tropicalist notions about the clash of the archaic and the modern in Brazilian cultural and political history.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n<\/div>

2018<\/h2>\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\"\"<\/td>\nRite of Passage: Ren\u00e9e Nader Messora and Jo\u00e3o Salaviza\u2019s \u201cThe Dead and the Others\u201d<\/a>
\nStefan Solomon, Kinoscope (2018)In the cosmologies of indigenous Brazilian societies, the shaman occupies a privileged position, standing as a vector connecting the living with the dead, human with non-human worlds. For the Krah\u00f4 people who inhabit the northeast area of the state of Tocantins, the shaman is unique in his ability to sense the presence of mecar\u00f5<\/i>\u00a0(spirits), to cure sickness, and to place curses upon his enemies.\u00a0<\/span>Continue reading\u2026<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nOf Mechanisms and Machines: Brazil\u2019s New New Cinema\/<\/a>Sobre m\u00e1quinas y mecanismos: El nuevo Nuevo Cine brasile\u00f1o<\/a>
\nStefan Solomon, Revista Ic\u00f3nica (2018)To think of Brazil today is to think foremost of a country in a state of crisis, or indeed of a country that has been in a state of perpetual crisis since at least 2013: politically, economically, socially. In the midst of this turmoil, and in the wake of the pivotal 2018 elections, the national cinema appears to be surprisingly healthy: the number of Brazilian feature films has almost doubled (from 84 in 2009 to 158 in 2017); an abundance of independent domestic festivals showcase works from their own country more fervently than most; and on the world stage, 23 films from Brazil screened at Rotterdam this year, while eight competed in the Berlinale. Continue reading\u2026<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\n\n

Introduction to the dossier: Fronteiras Intermidi\u00e1ticas do Cinema (Intermedial Borders of Cinema)<\/a>
\nFlavia Cesarino Costa, Suzana Reck Miranda, Samuel Paiva, RuMoRes, 12 (24), pp. 9-18, 2018<\/span><\/p>\n

Em novembro de 2015 o Cinem\u00eddia<\/em> \u2013 Grupo de Estudos sobre Hist\u00f3ria e Teoria das M\u00eddias Audiovisuais do Programa de P\u00f3s-Gradua\u00e7\u00e3o em Imagem e Som da Universidade Federal de S\u00e3o Carlos (UFSCar) \u2013 que existe desde 2013 e \u00e9 liderado por n\u00f3s, autores que agora apresentamos este dossi\u00ea \u2013 realizou o seu I Encontro Internacional, o I Cinem\u00eddia<\/em>, com o tema Intermidialidades. O objetivo das confer\u00eancias e comunica\u00e7\u00f5es foi estimular o debate e a investiga\u00e7\u00e3o sobre modos de intera\u00e7\u00e3o entre m\u00eddias e a ativa\u00e7\u00e3o de suas zonas fronteiri\u00e7as.<\/td>\n<\/tr>\n

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As passagens de Tata Amaral: Entrevista com Tata Amaral<\/a>
\nL\u00facia Nagib, <\/span>Samuel Paiva, Aniki: Portuguese Journal of the Moving Image, 5 (2), pp. 501-520, (2018)<\/span><\/p>\n

Tata Amaral \u00e9 uma das mais importantes cineastas do cinema da retomada, per\u00edodo de florescimento do cinema brasileiro, que arranca em meados da d\u00e9cada de 90. No contexto de um filme, Passagens <\/em>– que se foca num conjunto de obras que abordas dispositivos intermediais como passagens para a realidade hist\u00f3ria, social e pol\u00edtica do pa\u00eds, – os seus realizadores, L\u00facia Nagib e Samuel Pimenta, entrevistaram a realizadora focando-se em 3 das seus obras. Mais concretamente, a utiliza\u00e7\u00e3o da fotografia em Um c\u00e9u de estrelas<\/em> (1997), o papel da m\u00fasica em Ant\u00f4nia<\/em> (2006), e a import\u00e2ncia estrat\u00e9gica do teatro em Trago comigo<\/em> (2016).<\/td>\n<\/tr>\n

\"\"<\/td>\nThe Use of Other Media within Film as a Passage to Material Reality, Interview with L\u00facia Nagib<\/a>
\n\u00c1gnes Peth\u0151, <\/span>Acta Universitatis Sapientiae, Film and Media Studies, 2018<\/span>In the brochure of the international conference, The Moving Form of Film: Exploring Intermediality as a Historiographic Method, that you organized in November 2017, at the University of Reading, UK, we can read the following bio- bibliographical note about you: \u201cLu\u0301cia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. Continue reading…<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nFilm criticism, journalilsm and repression in the 1970\u2019s\/Cr\u00edtica de cinema, jornalismo e repress\u00e3o nos anos 70<\/a>
\nMargarida Adamatti, <\/span>Artcultura<\/span>, 36, 2018While historiography on Brazilian press censorship under the military regime is extensive, film criticism censorship re-mains undebated. The aim of this paper is to analyze film criticism under censorship in the underground newspaper Opini\u00e3o(1972-1977), with an special interest in strategies developed by critics so they could write about vetoed films. We stress how meaning was produced, how previous censorship influenced textual forms and what discursive strategies allowed Opini\u00e3o to participate in the aesthetic and political debate about films.<\/td>\n<\/tr>\n
\"\"<\/td>\nCaminhos cruzados entre intermidialidade, star system e m\u00fasica no \u00c9brio de Gilda de Abreu<\/a>
\nMargarida Adamatti, <\/span>Intexto, 42, 2018Em 1935, o tenor Vicente Celestino lan\u00e7ou a m\u00fasica O \u00c9brio<\/em>. Aproveitando o grande sucesso alcan\u00e7ado, a can\u00e7\u00e3o foi transposta para o universo do teatro, do cinema, da literatura e da telenovela ao longo de 30 anos. O artigo toma a intermidialidade, o conceito de transposi\u00e7\u00e3o e o star system<\/em> como ferramenta de an\u00e1lise do filme O \u00c9brio <\/em>de Gilda de Abreu. A partir da constru\u00e7\u00e3o da persona de Celestino, na materialidade do filme, no eu l\u00edrico da can\u00e7\u00e3o e na representa\u00e7\u00e3o da vida midi\u00e1tica do ator, o objetivo \u00e9 demonstrar como a presen\u00e7a em cena do astro nas sequ\u00eancias musicais junto \u00e0 transposi\u00e7\u00e3o intermidi\u00e1tica se fazem presentes na forma cinematogr\u00e1fica. O estudo demonstra como a presen\u00e7a em cena do astro nas sequ\u00eancias musicais fornece um fator de compensa\u00e7\u00e3o \u00e0 aus\u00eancia do hic et nunc<\/em>.\u00a0<\/span><\/td>\n<\/tr>\n
\"\"<\/td>\n\n

Andr\u00e9 Bazin e a intermidialidade: por uma historicidade impura do cinema<\/a>
\nMargardia Adamatti, Rumores, 23, 2018<\/p>\n

Pioneiro avant la lettre da intermidialidade, Andr\u00e9 Bazin n\u00e3o desprezou as possibilidades art\u00edsticas do di\u00e1logo entre o cinema e as demais m\u00eddias. Longe de uma postura purista, Bazin demonstrou como esses entrela\u00e7amentos trouxeram uma inevit\u00e1vel historicidade ao cinema e a possibilidade de aprimoramento da forma f\u00edlmica. Num movimento pendular entre a no\u00e7\u00e3o de autoria e o elogio \u00e0 cria\u00e7\u00e3o an\u00f4nima das artes, Bazin agregou a arqueologia das m\u00eddias ao debate do espec\u00edfico. Atrav\u00e9s da articula\u00e7\u00e3o entre a an\u00e1lise f\u00edlmica e o estudo do contexto, os artigos sobre a adapta\u00e7\u00e3o teatral e liter\u00e1ria abrem-nos caminhos de pesquisa para abordagens intermidi\u00e1ticas do cinema. A nossa proposta pretende decompor a metodologia baziniana e apresentar as disputas internas do campo cinematogr\u00e1fico em torno da autoria e do espec\u00edfico.<\/p>\n

\u00a0<\/span><\/td>\n<\/tr>\n

\"\"<\/td>\nLayered encounters: mainstream cinema and the disaggregate digital composite<\/a>
\nLisa Purse, Film-Philosophy, 22 (2), 2018, pp. 148-167. ISSN 1466-4615 doi:\u00a0https:\/\/doi.org\/10.3366\/film.2018.0070<\/a>The digital surface in cinema has, throughout its relatively brief history, been subject to a familiar \u201ciconophobic\u201d tendency, documented by Rosalind Galt (2011), to denigrate surface decoration as \u201cempty spectacle\u201d (p. 2). In early scholarship on computer generated (CG) images in cinema, the digital surface\u2019s alleged seamlessness and \u201cnew depthlessness\u201d frequently became an overdetermined nexus of loss: of material presence, of an indexical relation to the world and lived experience, and of the continuation of older traditions of narrative cinema. Today, digital visual effects sequences in mainstream cinema continue to be framed by film reviewers in negative terms: as variously lacking imagination, realism, narrative depth, and affective power. Digital visual effects and digital media scholarship have done much to reclaim the cultural significance of mainstream digital visual effects sequences and their capacity to speak to a rapidly evolving and increasingly encompassing digital media ecology. Yet the formal heterogeneity of this evolving period of mainstream aesthetic consolidation and experimentation with digital images, surfaces and spaces has yet to be fully acknowledged. This article seeks to contribute to this broader task by focussing on the mainstream cinematic history of the digital composite, and specifically those moments where it displays a particularly self-reflexive character. If the digital composite has traditionally been characterised by its attempt to totally erase signs of its composite nature, across the period of CG images\u2019 proliferation in cinema an occasional figure emerges that seeks to do the opposite: a digital composite that formally fragments, foregrounds, and scrutinises the digital surfaces that constitute it. Drawing on scholarship on the computer image, digital media and the post-cinematic, this article will argue that these returns of the self-conscious digital composite speak meaningfully to their historical context.<\/p>\n

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\"\"<\/td>\nConsiderations on the Musical Numbers of Brazilian Chanchadas<\/a>
\nFlavia Cesarino Costa, Significa\u00e7\u00e3o: Revista de Cultura Audiovisual<\/em>, S\u00e3o Paulo, Universidade de S\u00e3o Paulo. Escola de Comunica\u00e7\u00f5es e Artes, v. 45, n. 50, p. 179-203, julho-dezembro 2018. ISSN: 2316-7114. DOI: 10.11606\/issn.2316-7114.sig.2018.138619This article comments on accounts by Irina Rajewski and Agnes Peth\u00f6 on the intermediality in cinema and audiovisual production and discusses the use of intermediality as a critical category on the analysis of musical numbers of Brazilian chanchadas of the 1950s directed by Watson Macedo in the 1950s. Film researchers have worked on the connections between Brazilian chanchadas and popular theatre, radio, phonographic industry and Hollywood. The relationship between these distinct cultural practices have been discussed considering the film as the main point of discussion, but, according to Charles Musser, these musical numbers may be better understood inside the broader circuit of media and urban cultural practices.<\/td>\n<\/tr>\n
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\n

Playing at the Margins<\/a>
\nJohn Gibbs and Suzana Reck Miranda
\n[in]Transition 5.2, June\u00a02018. http:\/\/mediacommons.futureofthebook.org\/intransition\/theme-week\/2018\/18\/journal-videographic-film-moving-image-studies-52-2018<\/p>\n<\/div>\n

This audiovisual essay looks at the work of two musicians \u00ad\u00ad\u2013 Jos\u00e9 do Patroc\u00ednio Oliveira and Nestor Amaral. The two had successful careers in Brazilian radio and musical performance and also appeared in a number of Hollywood films of the 1940s.\u00a0The essay\u2019s strategy is to collect a number of Jos\u00e9 and Nestor\u2019s marginal appearances and through juxtaposition, and in relation to a series of on-screen titles, to draw attention to the formal and political dimensions of the deployment of the pair. The intention is also playful, and unpicking the transnational trajectory of the two musicians uncovers surprising elements to this hidden history. (Link to full page, inc. text article, in title).<\/p>\n