|When||December 04, 2019 12:00 PM - 01:30 PM|
|Where||Wieboldt Hall, Room 207|
|Contact Information||Romance Languages and Literatures Department|
|Description||In one of his most famous statements, Paulo Emílio Salles Gomes proposed to understand Brazilian film history as a series of incomplete cycles. For Salles Gomes, such cycles were interrupted continuously due to an underdevelopment condition. This talk would like to add the role unfilmed scripts might obtain to peripheral countries historiographies. Even following Salles Gomes' statement, one might affirm that unfilmed scripts may highlight some incomplete cycles aesthetics, which had not been transferred to screens. According to this hypothesis, the talk will present the analysis of three unfilmed scripts that have been found and collected during Gonçalo’s postdoctoral research. The first one is Mário Peixoto's O Sono Sobre a Areia (1931), which is one of the seventeen scripts written by this famous filmmaker. The second is O Sertanejo (1952), by Lima Barreto, and, if it went into production, it would be the first adaptation of Euclides da Cunha's Os Sertões in Brazilian cinema. O Imponderável Bento contra o Crioulo Voador (1988) is the third screenplay that will be presented during the talk. It would have been Joaquim Pedro de Andrade's last picture, and it is, for sure, one of the best allegories of Brazilian dictatorship. By presenting those unfilmed scripts, Gonçalo will highlight these incomplete aesthetic features of Brazilian film history that were neither evident in the Cinédia, nor in the Vera Cruz Studio films nor in the new wave of Brazilian cinema. |
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