FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1967892708> ?p ?o ?g. }

• W1967892708 endingPage "48" @default.
• W1967892708 startingPage "35" @default.
• W1967892708 abstract "Abstract Changes in the physical space of São Paulo are the focus of three films released early in the 21st century: O Príncipe (2002; The Prince), by Ugo Giorgetti; Urbânia (2001), by Flávio Frederico; and O Invasor (2002; The Trespasser), by Beto Brant. All three films convey a sense of deep division in the urban space by focusing on the “invasion” of certain parts of São Paulo by people who supposedly do not belong there: homeless, squatters, inhabitants of periferia. But they do so in different ways. The first two films play with the identification between viewers and the gaze of their flâneur-protagonists, creating, as a result, a shared feeling of nostalgia for a city that no longer exists. O Invasor, by contrast, uses camera work to de-stabilize the viewers' gaze, much complicating our attempts to identify with its protagonists and their ways of looking at the city. This paper will examine how gaze (camera gaze, characters' gaze, implied viewers' gaze) relates to issues of class difference and spatial division in the three films, paying most attention to O Invasor. By comparing this film to O Príncipe and Urbânia, it will re-assess the meanings of the invasion suggested in its title. Notes 1 For excellent analyses of these processes see Teresa CitationCaldeira's City of Walls, and CitationErmínia Maricato's Metrópole na Periferia do Capitalismo. See also CitationSá's Life in the Megalopolis. 2 Later, Baudelaire dismissed his own participation in the barricades of the 1848 Revolution as unimportant. For excellent analyses of Baudelaire's politics and of his participation in the 1858 Revolution see CitationT. J. Clark's The Absolute Bourgeois and CitationF. W. J. Hemming's Culture and Society in France, 1848-1898. 3 Some feminist critics disagree. See, for instance, CitationWilson. 4 In a certain way this was also, in part, the function of nineteenth-century Parisian arcades. See CitationBuck-Morss. For malling in contemporary Latin America see CitationDraper. 5 Her theory generated ample debates in the decades that followed. See, for instance: CitationKaplan; CitationNeale; and CitationBruno. For a good history of this debate see CitationManlove. 6 For allegory and flânerie, particularly in Baudelaire, see CitationWalter Benjamin's Citations Trauerspiel and ‘One Way Street’. See also Bolle, 134. 7 Nevertheless the film was a box office failure. 8 The film was produced in part with money from a German foundation and in part by the International festival in Rotterdam, and received public funds as well from the city of São Paulo. 9 Including Luis Sérgio Person's São Paulo S/A; Walter Hugo Khouri's Noite Vazia; and Humberto Mauro's Ganga Bruta. 10 Ismail Xavier: talk at the Department of Spanish, Portuguese, and Latin American Studies, University of Manchester, 2008. 11 For an excellent discussion of realism in O Invasor, see CitationNagib. Against many critics that see O Invasor as a realist representation of contemporary Brazil, she reads it as an expressionist film, pointing to many stylistic features (including acting and lighting) that emphasize its departure from realist aesthetics. 12 This long sequence mentioned also helps to destabilize the position of the gaze in the film. It is reminiscent of video-clips partly because it is filmed to the rhythm of rapper Sabotage's song ‘Zona Sul.’ In other words, the words of the song (an insider's view of the bairro) appear to have narrative predominance over the camera gaze. The importance of the soundtracks in O Invasor deserves closer attention." @default.
• W1967892708 created "2016-06-24" @default.
• W1967892708 creator A5049021918 @default.
• W1967892708 date "2011-03-01" @default.
• W1967892708 modified "2023-10-16" @default.
• W1967892708 title "Flânerie and Invasion in the Monstrous City: São Paulo in recent cinema" @default.
• W1967892708 cites W1974308570 @default.
• W1967892708 cites W1979091082 @default.
• W1967892708 cites W2033506826 @default.
• W1967892708 cites W2036639766 @default.
• W1967892708 cites W2328182261 @default.
• W1967892708 cites W4246982262 @default.
• W1967892708 cites W4252688747 @default.
• W1967892708 cites W4254770141 @default.
• W1967892708 doi "https://doi.org/10.1080/13569325.2011.562632" @default.
• W1967892708 hasPublicationYear "2011" @default.
• W1967892708 type Work @default.
• W1967892708 sameAs 1967892708 @default.
• W1967892708 citedByCount "0" @default.
• W1967892708 crossrefType "journal-article" @default.
• W1967892708 hasAuthorship W1967892708A5049021918 @default.
• W1967892708 hasBestOaLocation W19678927082 @default.
• W1967892708 hasConcept C107038049 @default.
• W1967892708 hasConcept C11171543 @default.
• W1967892708 hasConcept C116834253 @default.
• W1967892708 hasConcept C122980154 @default.
• W1967892708 hasConcept C138885662 @default.
• W1967892708 hasConcept C142362112 @default.
• W1967892708 hasConcept C144024400 @default.
• W1967892708 hasConcept C15708023 @default.
• W1967892708 hasConcept C15744967 @default.
• W1967892708 hasConcept C205649164 @default.
• W1967892708 hasConcept C2778572836 @default.
• W1967892708 hasConcept C2779916870 @default.
• W1967892708 hasConcept C2982717780 @default.
• W1967892708 hasConcept C41895202 @default.
• W1967892708 hasConcept C519580073 @default.
• W1967892708 hasConcept C52119013 @default.
• W1967892708 hasConcept C58640448 @default.
• W1967892708 hasConcept C59822182 @default.
• W1967892708 hasConcept C77805123 @default.
• W1967892708 hasConcept C86803240 @default.
• W1967892708 hasConceptScore W1967892708C107038049 @default.
• W1967892708 hasConceptScore W1967892708C11171543 @default.
• W1967892708 hasConceptScore W1967892708C116834253 @default.
• W1967892708 hasConceptScore W1967892708C122980154 @default.
• W1967892708 hasConceptScore W1967892708C138885662 @default.
• W1967892708 hasConceptScore W1967892708C142362112 @default.
• W1967892708 hasConceptScore W1967892708C144024400 @default.
• W1967892708 hasConceptScore W1967892708C15708023 @default.
• W1967892708 hasConceptScore W1967892708C15744967 @default.
• W1967892708 hasConceptScore W1967892708C205649164 @default.
• W1967892708 hasConceptScore W1967892708C2778572836 @default.
• W1967892708 hasConceptScore W1967892708C2779916870 @default.
• W1967892708 hasConceptScore W1967892708C2982717780 @default.
• W1967892708 hasConceptScore W1967892708C41895202 @default.
• W1967892708 hasConceptScore W1967892708C519580073 @default.
• W1967892708 hasConceptScore W1967892708C52119013 @default.
• W1967892708 hasConceptScore W1967892708C58640448 @default.
• W1967892708 hasConceptScore W1967892708C59822182 @default.
• W1967892708 hasConceptScore W1967892708C77805123 @default.
• W1967892708 hasConceptScore W1967892708C86803240 @default.
• W1967892708 hasIssue "1" @default.
• W1967892708 hasLocation W19678927081 @default.
• W1967892708 hasLocation W19678927082 @default.
• W1967892708 hasLocation W19678927083 @default.
• W1967892708 hasOpenAccess W1967892708 @default.
• W1967892708 hasPrimaryLocation W19678927081 @default.
• W1967892708 hasRelatedWork W2011068885 @default.
• W1967892708 hasRelatedWork W2011332018 @default.
• W1967892708 hasRelatedWork W2038988439 @default.
• W1967892708 hasRelatedWork W2111865594 @default.
• W1967892708 hasRelatedWork W2248387313 @default.
• W1967892708 hasRelatedWork W2748952813 @default.
• W1967892708 hasRelatedWork W2798672432 @default.
• W1967892708 hasRelatedWork W3112941305 @default.
• W1967892708 hasRelatedWork W4387080763 @default.
• W1967892708 hasRelatedWork W2516897543 @default.
• W1967892708 hasVolume "20" @default.
• W1967892708 isParatext "false" @default.
• W1967892708 isRetracted "false" @default.
• W1967892708 magId "1967892708" @default.
• W1967892708 workType "article" @default.