The Brazilian Eisenstein (1961–1981).
Beginning in the 1960s and 1970s, Latin American filmmakers and filmgoers began to interpret and adapt early Soviet avant-garde cinema of the 1920s in an unprecedented fashion, extending its half-life in innovative ways. In this context, Brazil is a generative but seldom explored site. This article...
| Published in: | Nathaniel Hawthorne Review Vol. 61; no. 2; pp. 335 - 365 |
|---|---|
| Main Author: | |
| Format: | Article |
| Published: |
Pennsylvania State University Press
2024
|
| Subjects: | |
| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=177188826&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 177188826 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08904197 UM9 jtl: Nathaniel Hawthorne Review issn: 08904197 maglogo: N pubinfo: dt: 2024 vid: 61 iid: 2 pid: 745 pub: Pennsylvania State University Press artinfo: ui: 177188826 10.5325/complitstudies.61.2.0335 ppf: 335 ppct: 30 formats: fmt: – @attributes: type: T – @attributes: type: P size: 494KB tig: atl: The Brazilian Eisenstein (1961–1981). aug: au: Wells, Sarah Ann su: Eisenstein, Sergei, 1898-1948 Luso-Brazilianists Hirszman, Leon Filmographies (Motion pictures) Anti-capitalist movement sug: subj: Eisenstein, Sergei, 1898-1948 Luso-Brazilianists Hirszman, Leon Filmographies (Motion pictures) Anti-capitalist movement keyword: avant-gardes Eisenstein labor Latin American cinema Luso-Brazilian studies ab: Beginning in the 1960s and 1970s, Latin American filmmakers and filmgoers began to interpret and adapt early Soviet avant-garde cinema of the 1920s in an unprecedented fashion, extending its half-life in innovative ways. In this context, Brazil is a generative but seldom explored site. This article traces the Brazilian reception of Soviet cinematic poetics through the shifting approaches to Sergei Eisenstein in the filmography of Leon Hirszman (1937–1987). Eisenstein's approaches to montage would shape Hirszman from his first student film to the workerist cinema that characterized his late filmography. Like his contemporary Glauber Rocha (1939–1981)—after Hirszman, the Brazilian filmmaker most marked by Eisenstein—Hirszman tranculturated the avant-garde postrevolutionary Soviet film for the truncated revolutionary context of Brazil. Changing and emphasizing different elements in Eisenstein's understanding of montage, Hirszman consistently depicted it as a capacious opportunity for both capturing and transforming the world: registering justices and multiplying a cinematic off-screen where anti-capitalist solidarities might flourish. His experimental filmmaking praxis also suggests how Eisenstein's montage method (activating disparate or contradictory contexts through juxtaposition) produces a paradoxical ground for comparison, a poetics of the urgent untimely, rather than either belated or diffusionist accounts of world cinema. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Nathaniel Hawthorne Review is the property of Pennsylvania State University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Nathaniel Hawthorne Review holder: Pennsylvania State University Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
|---|