Mangue Bangue, Film-Limit

Authors

DOI:

https://doi.org/10.11606/issn.2178-0447.ars.2019.146134

Keywords:

Marginal Cinema, Hélio Oiticica, Experimental Film, Marginália, Quasi-Cinema

Abstract

The purpose of this article is to bring an analysis of the “film-limit” Mangue Bangue (1971), by Neville d’Almeida, having in mind his proximity to the contemporary issues and proposals of the filmmaker’s partner, the visual artist Hélio Oiticica, and highlighting the convergence of both artists in the experimentation with the film form in interface with different visual and audiovisual media. The article emphasizes the context of artistic partnerships which persisted clandestinely working with formal experimentation, in order to amplify the sensitivities catalyzed by the precariousness of the available technical means and developed out of necessity and in consonance with their denial to the conventions of narrative-representational-industrial filmmaking and the state repression during the toughest period of Brazilian military-civil dictatorship.

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Author Biography

  • Theo Costa Duarte, Universidade Estadual de Campinas (UNICAMP), Brazil

    Theo Costa Duarte é pós-doutorando no Programa de Pós-Graduação em Multimeios da Universidade Estadual de Campinas. Doutor em Meios e Processos Audiovisuais pela Universidade de São Paulo e Mestre em Comunicação pela Universidade Federal Fluminense com pesquisas sobre as relações entre cinema experimental e artes visuais no cinema brasileiro e norte-americano. Foi programador do Cine Humberto Mauro (Belo Horizonte, 2010-2011) e cocurador das mostras Cinema Estrutural (Caixa Cultural – Rio de Janeiro, 2015) e Visões da Vanguarda (Centro Cultural Banco do Brasil – São Paulo, 2016), entre outros.

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Published

2019-08-31

Issue

Vol. 17 No. 36 (2019)

Section

Articles

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How to Cite

Duarte, T. C. (2019). Mangue Bangue, Film-Limit. ARS, 17(36), 145-173. https://doi.org/10.11606/issn.2178-0447.ars.2019.146134