"A JOÃO GUIMARÃES ROSA" (MARCELLO TASSARA; ROBERTO SANTOS, 1968)

DIALOGUES BETWEEN EXPERIMENTAL CINEMA AND ART CONTEMPORAIN

Abstract

This text proposes a reflection on the meanings of the short film A João Guimarães Rosa (1968) from two dimensions, organized into two distinct moments. In the beginning, I present the historicity of the production and making of the first film on the USP cinema course. Several hands and different perspectives that shared proposals for new experiments in national cinematography, encouraged by university dialogues projected by the results of the first undergraduate cinema courses in the country, organized the project. In a second section, I point out possible artistic significations around its contemporaneity, as it was included as one of the works of art in the art exhibition Agora ou Nunca – Devolução: paisagens audiovisuais de Maureen Bisilliat, o organized by the artist herself in collaboration with Rachel Rezende, at the Moreira Salles Institute. Instituto Moreira Salles. As a hypothesis, I identify that the historical study of a filmic object is dependent on different interpretations of its time, and they are defined in the meanings intertwined with cinema and contemporary art. Following these discussions, the theoretical definitions of the historicity of cinema proposed by Jacques Rancière, added to the contributions of Philippe Dubois on the “cinema effect” in contemporary art and the perceptions about the possible discourses of video and its language, highlighted by Arlindo Machado, will be auxiliary in the definitions concepts of this article.