Todo cinema é uma política
Keywords:
documentary, Marilá Dardot, Nicolal Larsen, artworkAbstract
This article focuses on film work Diário, by the Brazilian director Marilá Dardot, whose central issue is the writing of headlines published in Mexican newspapers, and the films Quicksand and Promised Land, by the Danish Nicolal Bendix Skyum Larsen, about migration issues. Placing these films in dialogue I analyze the documentary as a way of showing and sharing the sensitive, and understanding that all cinema is a political issue.
References
Didi-Huberman, G. (2012). Quando as imagens tocam o real. (trad. P. Carmello & V. Casa Nova). Revista da Escola de Belas Artes da UFMG, Belo Horizonte. Disponível em: www.eba.ufmg.br/revistapos/index.php/pos/article/view File/60/62.
Didi-Huberman, G. (2014). A imagem sobrevivente: História da arte e tempo dos fantasmas segundo Aby Waburg. (trad. V. Ribeiro). Rio de Janeiro: Contraponto/Museu de Arte do Rio de Janeiro.
Didi-Huberman, G. & Giannari, N. (2018). Pasar, cueste lo que cueste. [s/l.]: Contracampo/Shangrilla. Disponível em: https://shangrilaediciones.com.
Emcke, C. (2017). Contro l’Odio. Milão: La nave di Teseo/I Fari.
Rancière, J. (2018). Figuras da História. São Paulo: Editora da Unesp.
Rancière, J. (2005). A partilha do sensível. São Paulo: Editora 34.
Filmografia
Diário (2015), de Marilá Dardot.
Promised Land (2011), de Nicolal Bendix Skyum Larsen.
Quicksand (2017), de Nicolal Bendix Skyum Larsen.
Des spectres hantent l’Europe (2016), de Maria Kourkouta e Niki Giannari.
Site consultados
www.publico.pt/2018/06/18/mundo/noticia/criancas-sao-mantidas-em-gaiolas-na-fronteira-dos-eua-1834710.
www.bbc.com/portuguese/ciencia/030129_afeganaturezarg.shtml.
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