Extended deadline: Call for papers - dossier 45

2021-07-31

Genetic criticism and cinema: an approach to the creation processes.

If the aim of genetic criticism has always been, from the start, apprehending the process of literary construction, and its object of study the footprints left by the writer in the manuscript, then it should, necessarily, break the literary barrier and amplify its limits beyond words (Salles, 2002, p. 62). 

Genetic criticism’s approach to the visual arts focuses on the examination of material records left behind by artists in the course of their creative process (drafts, sketches, notes, drawings). It enables the materialization of a morphology of creation, maintaining all the initial and developmental perspectives contained in the documents, and opening the doors to challenging concepts such as an aesthetics of the unfinished. 

Salles’ words (2000, p. 63) point to a methodological appropriateness, intrinsic to genetic criticism, for the study of documents emerging from all forms of artistic expression.  In the case of cinema, genetic criticism research must always seek interdisciplinarity, as shown throughout the 19th dossier of Manuscrítica,  edited by Monica Gama, Claudia Amigo Pino y Josette Monzani (2010). 

The various departments that help materialize a film all speak different expressive languages: the writing the script, the creation of the storyboards, sketches, cutouts and collages, the production of models on different dimensions and cloth samples for costumes.

Genetic criticism’s approach to filmmaking presupposes a re-evaluation of the final cut as the only conceivable art object since its methodology implies the investigation of the creative process and its creators’ motivations. With genetic criticism, time and movement become key concepts for the understanding of the filmmaking processes.

We accept all contributions that follow the Guidelines for authors of Manuscrítica. The papers will be received until 15th Oct. 2021 and will be reviewed by the double-blind method. Website: https://www.revistas.usp.br/manuscritica/about/submissions

THEMATIC LINES:

  • Creative processes of cinema “authors”
  • Theoretical discussions about the notion of author in cinema
  • The métiers of cinema
  • Medias and creative methods in cinema
  • Cinema and its relation to other arts
  • Anthropology of cinema
  • Creative processes against artistic imposition or censorship

REFERENCES:

  • Alonso-García, Luis (2013). El saber hacer del proceso fílmico: del cineasta al filmólogo. Archivos de la Filmoteca, 71.
  • Aumont, Jacques (2004). Las teorías de los cineastas. Barcelona: Paidós.
  • Lois, Élida (2005). De la filología a la genética textual. Historia de los conceptos y las prácticas. En: Cómo editar la literatura latinoamericana del siglo XX. París: CRLA-Archivos, pp. 47 – 83.
  • Loureiro Chaves, C. G. (2012). Processo criativo e composição musical: proposta para uma crítica genética em música. Congresso Internacional da Associação de Pesquisadores em Crítica Genética, X Edição, Porto Alegre: Pontifícia Universidade católica do Río Grande.
  • Gama, M.; Pino, C. A.; Monzani, J. (Eds) (2010). Manuscrítica: Revista de Crítica Genética, 19. Disponível em: https://www.revistas.usp.br/manuscritica/article/view/177675. Acesso em: 28 abr. 2021.
  • Salles, Cecília (1998). Gesto inacabado. Processo de criação artística. São Paulo: FAPESP e Annablume.
  • Salles, Cecília (2008). Crítica Genética - Fundamentos dos estudos genéticos sobre o processo de criação artística. São Paulo: EDUC.
  • Vauthier, B. (2013). ¿Crítica textual? ¿Critique génétique? ¿Filologia d’autore? Edición de manuscritos hispánicos contemporáneos e hispanismo (inter)nacional. Lo que los archivos cuentan.
  • AA (1993). Textos y manifiestos del cine. Madrid: Cátedra.

Editorial board of the dossier :

Caterina Cucinotta (Universidade NOVA de Lisboa)

Jesús Ramé (Universidad Ray Juan Carlos, Madrid) 

Lea Hafter (Universidad Nacional de La Plata)