Realistic intermediality and the historiography of the present

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dc.contributor.authorAmaral, Marcela
dc.contributor.editorCourage, Tamaraen
dc.contributor.editorElduque, Alberten
dc.date.accessioned2020-07-24T08:34:48Z
dc.date.available2020-07-24T08:34:48Z
dc.date.issued2020
dc.description.abstractThis 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.en
dc.description.statusPeer revieweden
dc.description.versionPublished Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationAmaral, 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.19.06en
dc.identifier.doihttps://doi.org/10.33178/alpha.19.06
dc.identifier.endpage80
dc.identifier.issn2009-4078
dc.identifier.issued19
dc.identifier.journalabbrevAlphavilleen
dc.identifier.journaltitleAlphaville: Journal of Film and Screen Mediaen
dc.identifier.startpage67
dc.identifier.urihttps://hdl.handle.net/10468/10297
dc.language.isoenen
dc.publisherFilm and Screen Media, University College Corken
dc.relation.urihttp://www.alphavillejournal.com/Issue19/ArticleAmaral.pdf
dc.rights© 2020, the Author(s). This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subjectPartido Altoen
dc.subjectLeon Hirszmanen
dc.subjectBrazilian cinemaen
dc.subjectMusic documentaryen
dc.subjectSambaen
dc.titleRealistic intermediality and the historiography of the presenten
dc.typeArticle (peer-reviewed)en
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Alphaville: Journal of Film and Screen Media. Issue 19: Performing the Intermedial across Brazilian Cinema