The Aesthetics of ‘Speaking Objects’ in Aniki-Bóbó’s Anthropo-cosmo-morphic Material
| Autor: | Teresa Biondi |
|---|---|
| Rok vydání: | 2021 |
| Předmět: |
Superfícies fílmicas
material culture re-significação fílmica objectos de transição media_common.quotation_subject antropo-cosmo-morfismo Victory intellectual montage General Medicine Art montagem intelectual Politics Fable transitional objects Aesthetics cultura material National identity Filmic surfaces antropo-cosmo-morphism Classical architecture Dramaturgy (sociology) filmic re-signification Liminality Soul media_common |
| Zdroj: | Aniki: Portuguese Journal of the Moving Image; Vol 8 No 2 (2021): Materiality in Portuguese Cinema: aesthetics, practices and techniques; 210-234 Aniki: Revista Portuguesa da Imagem em Movimento; v. 8 n. 2 (2021): Materialidades no cinema português: estéticas, práticas e técnicas; 210-234 Repositório Científico de Acesso Aberto de Portugal Repositório Científico de Acesso Aberto de Portugal (RCAAP) instacron:RCAAP |
| ISSN: | 2183-1750 |
| DOI: | 10.14591/aniki.v8n2.780 |
| Popis: | The surface of the things which make up the pro-filmic constitutes the shell/ signifier chosen to shape the soul of the filmic world or its anthropo-cosmo-morphic image rendered by the techniques of film language. The result is the creation of a complex and multi-layered “possible world”, consisting of discursive parts that speak through the dramaturgy and aesthetics of the film, a socio-semantics which transfigures the matter of bodies and objects through the mechanisms of filmic re-signification. Amongst these, the intellectual montage as well as all the graphic and audio signs that appear on the scene can be identified. These signs stand out because of their metaphorical-discursive capacity, as will be analysed in the film Aniki-Bóbó (1942) by Manoel de Oliveira: the written words that serve to give voice to inanimate matter (Carlitos’ bag); the modelled forms which reproduce material allegories or doubles of the human body (the doll); the fragile materials that refer to the children’s fragility itself; the steel and iron of mechanised infrastructures showing the modernisation of the country; the classical architecture, the nature of the place and the free, open-air spaces of games, as opposed to closed spaces that recall underdeveloped pedagogical institutions; and among the latter, the liminal place par excellence, symbolised by the ‘Shop of Temptations’. In the filmic whole, bodies, places and objects are thus configured as interconnected parts of a single compact world, in which the cosmos is reflected in the anthropo, and the anthropo in the cosmos, in order to transfigure, in a metaphorical key, the immaterial culture referring to the changes in national identity. This allegorical fable of Portuguese pedagogical culture ultimately proposes the possibility of a social (and political) change, projected into a ‘just’ future without dictatorship (victory of good over evil). |
| Databáze: | OpenAIRE |
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