Gustavo Dahl’s two faces in Uirá: between director and film critic

Authors

  • Margarida Maria Adamatti Universidade Federal de São Carlos.
  • Margarida Maria Adamatti Universidade Federal de São Carlos.

DOI:

https://doi.org/10.4013/fem.2019.211.10

Abstract

In 1974, Gustavo Dahl released Uirá, his second film. From the film analysis and critical reception, the article proposes to evaluate the interstitial spaces between his performance as a critic and as a director. Our aim is to analyze Dahlian thinking about the cinematographic language and about the mechanisms of emotion and identification in cinema.

Keywords: Uirá. Gustavo Dahl. Cinema Novo.

Author Biographies

Margarida Maria Adamatti, Universidade Federal de São Carlos.

Doutora em Meios e Processos Audiovisuais pela ECA/USP. Desenvolve pesquisa de pós doutorado na UFSCar, no projeto "Towards an intermedial history of Brazilian Cinema: exploring intermediality as a historiographic method" (UFSCar/UoR). É professora colaboradora do Program de Pós-Graduação em Imagem e Som da UFSCar (PNPD/CAPES). Integra o comitê editorial da Revista Significação (ECA/USP).

Margarida Maria Adamatti, Universidade Federal de São Carlos.

Doutora em Meios e Processos Audiovisuais pela ECA/USP. Desenvolve pesquisa de pós doutorado na UFSCar, atrelado ao projeto "Towards an intermedial history of Brazilian Cinema: exploring intermediality as a historiographic method" (Fapesp, UoR). É professora colaboradora do Programa de Pós-Graduação em Imagem e Som da UFSCar (PNPD/CAPES). Integra o comitê editorial da Revista Significação (ECA/USP).

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Published

2019-05-09

Issue

Vol. 21 No. 1 (2019): January/April

Section

Articles

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