With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the ter... more With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the territory of the Recôncavo baiano, we will crossreference the images of four short films-The Arc of Time (2019), The days with you (2021), marvin.gif Part II (2020), Heroic Dreams (2021), in the search for generating the "endless imagery". These films bring a future to our own times by means the bodies on the scene and the body of the scene (BOGADO, et al.2020). They reflect not just an Afrofuturist language (FREITAS, BARROS, 2018), but an Afrofuturist practice. These are characters that inhabit the future and invite us, through affection, to want to build and inhabit this same dream world. This fabulatory prism, through which it may be interpreted, can provide us a political dimension of the imagery, as spaces that need to be dug, illuminated, and inhabited, so that the diversity and poetics of re-enchantment of the world may spring from them (RUFINO, 2019). This implies engendering the implied world we want to live in. From the intersection (RUFINO, 2019) of the films emerges a collective body that carries the strength, ginga, and dengo of an ancestral territory as a way to denounce and transgress the white epistemologies of a binary world.
We agree with Jacques Rancière when he says "the act of writing is more than the exercise of a co... more We agree with Jacques Rancière when he says "the act of writing is more than the exercise of a competence; it is a way of occupying the sensible and of providing meaning to this occupation" (2017). In the Recôncavo da Bahia, bodies and gazes are influenced by the experience of a black ancestral territory of oral tradition whose images and narratives were contained by an excluding Brazil. The UFRB, present in the region since 2006, offers a humanistic education, which fosters cultural entrepreneurs able to break the barrier of the hegemonic discourse and to give voice to images silenced and erased by history. It was in this powerful context that the directors Glenda Nicácio and Ary Rosa, through their own grammar and a local prosody, found a way of occupying this space and of taking the images of the Recôncavo to other spaces. Até o fim (2020), their third full-length movie, brings to the fore four black women, the Arcanjo sisters, who meet again after 15 years to toast the death of their father and to face their phantoms. Characters forged in ordinary life experiences help us denaturalize the blindness of these somber times. The narrative of death and the construction of "in-between" images (BOGADO, 2017) are film strategies that point to a form of fight and resistance. Facing an improbable country, the cinema asks us: how can we leave that island of embezzlement without drowning?
Vamos cruzar os cinemas do Recôncavo baiano na busca por habitar uma estética da memória forjada ... more Vamos cruzar os cinemas do Recôncavo baiano na busca por habitar uma estética da memória forjada na experiência entre a vida vivida e a imaginada. São filmes que se hospedam no futuro e nos convidam, por meio do afeto, a querer construir este mesmo mundo sonhado. Os curtas que acolhemos banham margens de um movimento de imaginação de si com o desejo de ser expansível a um nós. Do cruzamento dos filmes surge um corpo coletivo que carrega a força, a ginga e o dengo de um território ancestral.
With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the ter... more With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the territory of the Recôncavo baiano, we will cross-reference the images of four short films– The Arc of Time (2019), The days with you (2021), marvin.gif Part II (2020), Heroic Dreams (2021), in the search for generating the “endless imagery”. These films bring a future to our own times by means the bodies on the scene and the body of the scene (BOGADO, et al.2020). They reflect not just an Afrofuturist language (FREITAS, BARROS, 2018), but an Afrofuturist practice. These are characters that inhabit the future and invite us, through affection, to want to build and inhabit this same dream world. This fabulatory prism, through which it may be interpreted, can provide us a political dimension of the imagery, as spaces that need to be dug, illuminated, and inhabited, so that the diversity and poetics of re-enchantment of the world may spring from them (RUFINO, 2019). This implies engendering the ...
We agree with Jacques Rancière when he says “the act of writing is more than the exercise of a co... more We agree with Jacques Rancière when he says “the act of writing is more than the exercise of a competence; it is a way of occupying the sensible and of providing meaning to this occupation” (2017). In the Recôncavo da Bahia, bodies and gazes are influenced by the experience of a black ancestral territory of oral tradition whose images and narratives were contained by an excluding Brazil. The UFRB, present in the region since 2006, offers a humanistic education, which fosters cultural entrepreneurs able to break the barrier of the hegemonic discourse and to give voice to images silenced and erased by history. It was in this powerful context that the directors Glenda Nicácio and Ary Rosa, through their own grammar and a local prosody, found a way of occupying this space and of taking the images of the Recôncavo to other spaces. Até o fim (2020), their third full-length movie, brings to the fore four black women, the Arcanjo sisters, who meet again after 15 years to toast the death of ...
With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the ter... more With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the territory of the Recôncavo baiano, we will crossreference the images of four short films-The Arc of Time (2019), The days with you (2021), marvin.gif Part II (2020), Heroic Dreams (2021), in the search for generating the "endless imagery". These films bring a future to our own times by means the bodies on the scene and the body of the scene (BOGADO, et al.2020). They reflect not just an Afrofuturist language (FREITAS, BARROS, 2018), but an Afrofuturist practice. These are characters that inhabit the future and invite us, through affection, to want to build and inhabit this same dream world. This fabulatory prism, through which it may be interpreted, can provide us a political dimension of the imagery, as spaces that need to be dug, illuminated, and inhabited, so that the diversity and poetics of re-enchantment of the world may spring from them (RUFINO, 2019). This implies engendering the implied world we want to live in. From the intersection (RUFINO, 2019) of the films emerges a collective body that carries the strength, ginga, and dengo of an ancestral territory as a way to denounce and transgress the white epistemologies of a binary world.
We agree with Jacques Rancière when he says "the act of writing is more than the exercise of a co... more We agree with Jacques Rancière when he says "the act of writing is more than the exercise of a competence; it is a way of occupying the sensible and of providing meaning to this occupation" (2017). In the Recôncavo da Bahia, bodies and gazes are influenced by the experience of a black ancestral territory of oral tradition whose images and narratives were contained by an excluding Brazil. The UFRB, present in the region since 2006, offers a humanistic education, which fosters cultural entrepreneurs able to break the barrier of the hegemonic discourse and to give voice to images silenced and erased by history. It was in this powerful context that the directors Glenda Nicácio and Ary Rosa, through their own grammar and a local prosody, found a way of occupying this space and of taking the images of the Recôncavo to other spaces. Até o fim (2020), their third full-length movie, brings to the fore four black women, the Arcanjo sisters, who meet again after 15 years to toast the death of their father and to face their phantoms. Characters forged in ordinary life experiences help us denaturalize the blindness of these somber times. The narrative of death and the construction of "in-between" images (BOGADO, 2017) are film strategies that point to a form of fight and resistance. Facing an improbable country, the cinema asks us: how can we leave that island of embezzlement without drowning?
Vamos cruzar os cinemas do Recôncavo baiano na busca por habitar uma estética da memória forjada ... more Vamos cruzar os cinemas do Recôncavo baiano na busca por habitar uma estética da memória forjada na experiência entre a vida vivida e a imaginada. São filmes que se hospedam no futuro e nos convidam, por meio do afeto, a querer construir este mesmo mundo sonhado. Os curtas que acolhemos banham margens de um movimento de imaginação de si com o desejo de ser expansível a um nós. Do cruzamento dos filmes surge um corpo coletivo que carrega a força, a ginga e o dengo de um território ancestral.
With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the ter... more With the aim of expanding on our body of work (BOGADO; CIRINO, 2021) on films produced in the territory of the Recôncavo baiano, we will cross-reference the images of four short films– The Arc of Time (2019), The days with you (2021), marvin.gif Part II (2020), Heroic Dreams (2021), in the search for generating the “endless imagery”. These films bring a future to our own times by means the bodies on the scene and the body of the scene (BOGADO, et al.2020). They reflect not just an Afrofuturist language (FREITAS, BARROS, 2018), but an Afrofuturist practice. These are characters that inhabit the future and invite us, through affection, to want to build and inhabit this same dream world. This fabulatory prism, through which it may be interpreted, can provide us a political dimension of the imagery, as spaces that need to be dug, illuminated, and inhabited, so that the diversity and poetics of re-enchantment of the world may spring from them (RUFINO, 2019). This implies engendering the ...
We agree with Jacques Rancière when he says “the act of writing is more than the exercise of a co... more We agree with Jacques Rancière when he says “the act of writing is more than the exercise of a competence; it is a way of occupying the sensible and of providing meaning to this occupation” (2017). In the Recôncavo da Bahia, bodies and gazes are influenced by the experience of a black ancestral territory of oral tradition whose images and narratives were contained by an excluding Brazil. The UFRB, present in the region since 2006, offers a humanistic education, which fosters cultural entrepreneurs able to break the barrier of the hegemonic discourse and to give voice to images silenced and erased by history. It was in this powerful context that the directors Glenda Nicácio and Ary Rosa, through their own grammar and a local prosody, found a way of occupying this space and of taking the images of the Recôncavo to other spaces. Até o fim (2020), their third full-length movie, brings to the fore four black women, the Arcanjo sisters, who meet again after 15 years to toast the death of ...
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