Palavras-chave
Essay-film
33
Como Citar
Resumo
This research takes into account the conjunction of two often polemic topics when dealing with cinema studies: the film noir and the essay-film. More specifically, the essay-film 33 (Kiko Goifman, 2002) and its use of noir aesthetics, form and themes in order to develop the process of (thinking of) meeting a biological mother. Through bibliographical research about the two kinds of films here described and analysis of the films 33, The Maltese Falcon (John Huston, 1941) and Murder, My Sweet (Edward Dmytryk, 1944), it is plausible to say the noir tropes are rekindled with a documentary-ish style akin to the cinéma vériteé, stating that, actually, there is no truth at all. The blurred boundaries between right or wrong in noirs give place to the blurred boundary between questions and answers in 33.
Referências
BARTUCCI, G. (Org.). Psicanálise, Cinema e Estéticas de Subjetivação. Rio de Janeiro: Imago, 2000.
CORRIGAN, T. The Essay Film: from Montaigne, after Marker. New York: Oxford University Press, 2011.
RASCAROLI, L. The Essay Film: Problems, Definitions and Textual Commitments. The Journal of Cinema and Media. Detroit, v. 49, n. 2, pp. 24-47. 2008.
SCHRADER, P. Notes on film Noir. In: GRANT, Barry Keith (Ed.). Film Genre Reader III. Austin: University of Texas Press, 2003. pp. 229-242.
SPICER, A. Film noir. Harlow: Longman, 2002.
TEIXEIRA, F. E. (Org.). O Ensaio no Cinema: formação de um quarto domínio das imagens na cultura audiovisual contemporânea. São Paulo: Hucitec, 2015.
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