Adirley Queirós's White Out, Black In (Branco Sai, Preto Fica, 2014) mixes documentary and science fiction film to discuss civil rights and citizenship menaced by the state, Produced with funds originating from a call targeted at documentary filmmaking, the film resorts to all sorts of circuit bending in terms of its narrative, set designs and mise-en-scène, in order to provoke cognitive estrangement out of seemingly familiar and ordinary circumstances and landscapes. White Out, Black In is also a borderlands film, an interesting case of genre chimera whose narrative is set in a frontier area, the one that isolates Brasília, the federal district, from Ceilândia, a working class city. This work aims to analyze Adirley Queirós's film under the perspective of three contemporary cultural concepts: circuit bending, borderlands science fiction and lo-fi sci-fi.

No abstract

Latin American horror literature and film is manifold, a heterogeneous landscape with perhaps more differences and peculiarities from country to country than a non–Latin American observer might perceive at first glance. Very often, Latin American horror resides on the borderlines between different genres, permeating a number of nonnaturalistic types of narrative—such as science fiction, fantasy, or crime thriller—and a great deal of horror literature and film embraces parody by means of comedy or experimental works. So, in order to identify and draw a line delineating the so-called Latin American horror genre in both literature and film, one should be significantly open-minded to concepts such as hybridity, multiculturalism, transculturalism, syncretism, non-Western narrative strategies and approaches, and so forth. If the ideal of a pure genre has rarely or perhaps never truly been identified in classical contexts, Latin American horror demonstrates that impurity might be one—that is, if there even is one—distinctive trait of the production of this genre on the Latin American continent. In fact, there is still no crystalized “genre culture” in Latin American literature and film. To attain full-fledged commercial and critical success, a Latin American writer/filmmaker must write/direct mainstream fiction, and this means “realist” fiction in most cases. The reasons for this phenomenon are varied. The infrastructural context (i.e., editorial market, editorial policies, audience, and reader demands) may partially contribute to the situation. Critical and academic orientations, which involve the valorization of the realist novel and authorship (auterism) to the detriment of “industrial” or “escapist” genres, can also be included in this context.

RESUMOO objetivo deste artigo é investigar aspectos da teoria clássica do cinema, com especial atenção aos primórdios do pensamento cinematográfico, visando ao esclarecimento de algumas controvérsias e o aprofundamento de determinados debates, os quais, ainda hoje, não parecem totalmente superados. Portanto, dois aspectos serão investigados: a oscilação entre aproximação e afastamento do cinema com relação às demais manifestações artísticas e a abordagem bipartidária da história da teoria do cinema, organizada em torno de dois eixos fundamentais, o formalista e o realista. ABSTRACTThe objective of this paper is to to investigate the classical film theory, with special attention to the beginnings of film thinking, aiming to clarify some controversies and deepen certain debates, which, even today, do not seem to be fully overcome. Therefore, two aspects will be investigated: the oscillation between approach and retraction of the cinema in relation to other art forms and the bipartisan approach to the history of film theory, arranged around two main axes, the formalistic and realistic.

Este artigo pretende discutir aspectos cenográficos/arquitetônicos enquanto metáforas visuais de atuação destacada nas respectivas fábulas de Metropolis (1927), de Fritz Lang, e Blade Runner (1982), de Ridley Scott, com inspiração no conceito de architecture parlante. O termo architecture parlante refere-se à idéia de edificações que expressam seu propósito e função por meio de sua própria forma.