August 3, 2020 Journal article Open Access

Lourdes Monterrubio Ibáñez

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        <foaf:name>Lourdes Monterrubio Ibáñez</foaf:name>
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    <dct:title>Correspondências by Rita Azevedo Gomes. The Complex Hybrid Image of Contemporary Epistolary Cinema and Contemporary Essay Film</dct:title>
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    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#gYear">2020</dct:issued>
    <dcat:keyword>contemporary cinema</dcat:keyword>
    <dcat:keyword>correspondence</dcat:keyword>
    <dcat:keyword>poetry</dcat:keyword>
    <dcat:keyword>essay film</dcat:keyword>
    <dcat:keyword>cinematic thinking</dcat:keyword>
    <dcat:keyword>hybridisation</dcat:keyword>
    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#date">2020-08-03</dct:issued>
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    <dct:description>&lt;p&gt;Rita Azevedo Gomes&amp;#39; Correspond&amp;ecirc;ncias (2016) draws on the epistolary correspondence between Sophia de Mello Breyner Andresen and Jorge de Sena, as well as their respective poetic works, to build an epistolary-poetic, audio-visual and sensory-emotional kaleidoscope based on their reading, reciting and representation in different languages. In this way, the filmmaker generates a kind of phenomenology of reception that uses all the audiovisual possibilities: the different formats, digital and analogue; their multiple&amp;nbsp;textures; and the diverse options of the texts enunciation. The experimentation with their different combinations, also using various image and sound effects, materialises in an epistolary-poetic essay film which reflects on the aesthetic experience and attains a hybrid, complex image defining contemporary cinema: between person and character, diegesis and extradiegesis, digital and analogue images, voice-in and voiceover, private and public, life and work, present and past, absence and presence, that is, between reproduction and representation (Quintana, 2011). Azevedo&amp;rsquo;s essayistic reflection on creation, exile and absence is generated through parataxic thinking (Catal&amp;agrave;, 2014) and interstitial thinking (Rascaroli, 2017) that create dialectical and symbolic sentence-images (Ranci&amp;egrave;re, 2003). Thus, Correspond&amp;ecirc;ncias becomes an avant-garde expression of both contemporary epistolary cinema and contemporary essay film.&lt;/p&gt;</dct:description>
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