Realistic intermediality and the historiography of the present
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Published Version
Date
2020
Authors
Amaral, Marcela
Journal Title
Journal ISSN
Volume Title
Publisher
Film and Screen Media, University College Cork
Published Version
Abstract
This article tackles intermedial forms in the film O invasor (The Trespasser, Beto Brant, 2001), as it brings in diverse uses of media, predominantly connected to São Paulo’s hip-hop music and culture. I examine how intermediality can be used as a tool to explore the role of art forms within film space and to highlight a critical social view. The highly contrasted Brazilian social class stratum is illustrated using two distinct groups, namely the elite and the urban fringes. Music plays a relevant part in illustrating these divisions but also in exploring the complex notion and experience of border crossing. Analysing specific scenes that depict this division, I intend to examine the director’s decision to illustrate two distinct urban socioeconomic experiences through spatially driven visual and aural aesthetics. I will also aim to understand how the film opens a discursive space for exploring realism through unpredictable events that occur and are absorbed as a means to enhance the film’s atmosphere and narrative. This configuration sets an intriguing debate for the analysis of an intersection between realism and intermediality, or “realistic intermediality”, and a realism that promotes a collision between fiction and reality, producing a seemingly raw documentation of moments framed historically, socially and culturally.
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Keywords
Partido Alto , Leon Hirszman , Brazilian cinema , Music documentary , Samba
Citation
Amaral, M. (2020) 'Realistic intermediality and the historiography of the present', Alphaville: Journal of Film and Screen Media, 19, pp. 67-80. https://doi.org/10.33178/alpha.19.06