The names of Júlio Bressane: a play of senses in cinematic conversations
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2023.214573Keywords:
Cinematic conversation, Júlio Bressane, Proper name, Semiotics, SenseAbstract
The article analyzes the ways in which the naming of characters shapes the cinematic conversations of Júlio Bressane’s films as speech acts whose sense leads to the proliferation of becoming and the production of undecidability. Based on the research of Gilles Deleuze and Félix Guattari, we unfold the status of speech act of conversation in cinema, highlighting the eventimental character of the sense of conversation when it is crossed by the naming act. The study of names in Bressanean cinema is based on the analysis of blocks extracted from the films Brás Cubas (1985) and O mandarim (1995), in which the sense of nominations expresses a conversation that values tension between the already lived and the yet to come.
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References
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Referências audiovisuais
ÁGUAS de março. Intérpretes: Tom Jobim e Elis Regina. Compositor: Tom Jobim. In: ELIS & Tom. Los Angeles: Philips, 1974. LP.
BRÁS Cubas. Júlio Bressane, Brasil, 1985.
CHORO bandido. Intérpretes: Chico Buarque e Edu Lobo. Compositor:, Edu Lobo. In: O CORSÁRIO do rei. Rio de Janeiro: Som Livre, 1985. LP.
O MANDARIM. Júlio Bressane, Brasil, 1995.
PRA dizer adeus. Intérpretes: Tom Jobim e Edu Lobo. Compositor: Edu Lobo. In: EDU & Tom, Tom & Edu. Rio de Janeiro: Polygram, Philips, 1981. LP.
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