The Coletivo Cine-Fórum Journal (ISSN: 2966-0513) is an interdisciplinary academic journal that, as of January 2026, adopts an annual publication model with continuous flow. It is edited by Coletivo Cine-Fórum®, a non-profit publisher dedicated to culture, the arts, and the dissemination of scientific knowledge. The journal prioritizes the College of Humanities (CAPES), with a primary focus on the following areas: Literature, Arts, and Linguistics; Cinema and Audiovisual; Philosophy and Sociology; Anthropology and Culture; Visual Arts and Interart; Psychoanalysis; Communication and Information. In addition to related fields within the Humanities and Applied Social Sciences, encompassing contemporary debates and interdisciplinary connections among areas of knowledge. The Coletivo Cine-Fórum Journal is classified as Qualis B4.
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This work investigates the dynamics of gender and sexuality in the boys love (BL) genre, using the manga and dorama adaptation of Cherry Magic! as an object of analysis. The study contextualizes the emergence of BL from the shōjo demographic in Japan and its subsequent audiovisual expansion in East Asia, especially through Thai live action productions. Through bibliographic research based on authors such as Mark McLelland, James Welker, and Judith Butler, the construction of the seme and uke archetypes is analyzed, as well as how these representations interact with the desires and imagination of the primarily female audience, the fujoshi. The results indicate that, although Cherry Magic! maintains traditional gender traits – such as the physical and role differentiation between the protagonists Adachi and Kurosawa – the work also reflects contemporary trends of flexible power norms and greater proximity to LGBTQIA+ reality. It can be concluded that BL functions as a space of subversion and fantasy, where gender categories are reworked from the perspective of a "fujoshi gaze".
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This article analyzes A Cachorra (2017), by the Colombian writer Pilar Quintana, focusing on the construction of the protagonist Damaris's subjectivity through the concept of trauma. Its primary objective is to investigate how trauma functions as a constitutive structure of the female subject represented in the narrative, not as an episodic event but as the foundation of her ways of feeling, acting, and relating to the world. The analysis is grounded in three complementary theoretical frameworks: Freudian and Winnicottian psychoanalysis, with emphasis on the concepts of trauma, repetition compulsion, repression, and melancholia; Vera Iaconelli's (2023) anti-maternalism, which makes it possible to understand the symbolic violence inflicted upon Damaris through the social imposition of motherhood as the mandatory destiny of women; and Elaine Showalter's (1994) feminist literary criticism, articulated with Silviano Santiago's (2002) concept of the in-between space (entre-lugar), which situates the novel within a literary tradition that speaks from the margins in order to destabilize hegemonic discourses. The analysis demonstrates that Damaris's behavior—including her ambivalent bond with the dog Chirli and the act of violence that concludes the narrative—constitutes a coherent response to a set of unresolved traumatic experiences whose structure is repeated and intensified throughout the novel. This study is situated within the field of qualitative literary studies and adopts an analytical-interpretative approach.
AESTHESIS AND SPECTACLE IN AERIAL IMAGES
This study examines how the aesthetic use of drones in tourism promotion on social media produces a new aerial aesthesis and contributes to the spectacularization of destinations. Based on a qualitative analysis of Brazilian promotional videos and grounded in the theoretical frameworks of remediation, phenomenology of perception, and spectacle theory, it demonstrates that aerial shots (drone footage) operate as a form of “vertical montage” that generates a strong sensory impact (“wow effect”), amplified by algorithmic logics and participatory culture. The study concludes that this drone aesthetics tends to homogenize representations and transform places into hyper-real visual commodities, with implications for authenticity and tourism management. It recommends further empirical research on audience reception and the development of policies that promote narrative diversity and visual sustainability.
FEMALE SEXUALITY DISTANCES ITSELF FROM THE MALE GAZE — CONTRIBUTIONS OF BABY GIRL TO A FEMINIST FILM
This article proposes an analysis of the film Baby Girl (2024), directed by Halina Reijn, with the aim of investigating the particularities of female sexuality from a perspective that distances itself from the cinematic concept of the male gaze, formulated by Laura Mulvey. The film analysis draws on Critical Theory to elucidate patriarchy as a fundamental element in this process of female subservience and suggests its overcoming as a path toward emancipation. The reflection is grounded in the relationship between sexuality, bodily perception, and female desire, understood as historical and cultural constructions still marked by taboos and prejudices. To support this approach, studies on the body and the representation of women are employed, with theoretical support from authors such as Nancy Fraser, Laura Mulvey, Mary Del Priore, and Naomi Wolf, promoting a feminist reading of cinema that enables new ways of addressing the theme. The results of this analysis point to a trend of new feminist films that distance themselves from the language of the male gaze and create spaces for alternative narratives within the film industry.
I’M DOING FINE, I SWEAR IT’S NOT A LIE: CONSIDERATIONS ABOUT THE VISUAL CONSTRUCTION OF THE PERFORMANCE IN NERVES
Considering that the cinematography of an audiovisual product functions as a communication tool and that music videos bring a new perspective on the song through a visual layer, this work aims to investigate the visual construction of the performance in the music video Nerves (2021), directed and performed by DPR IAN, with Hoin Cho as a photography director, based on the technical and aesthetic elements that constitute its cinematography style, using the methodological steps proposed by Coutinho (2015) for image analysis: reading, interpretation, and conclusion. This research is based on the theoretical work of authors who discuss music videos (Valente, 2003; Soares, 2012; 2013), performance (Carlson, 2009; Paim, 2019), photographic aesthetics (Moletta, 2009), cinematographic elements and techniques (Bordwell and Thompson, 2013; Carreiro, 2021), and cinematographic photography (Scansani, 2019; 2020). At the end of the analysis, we were able to perceive how the technical and aesthetic elements within the cinematography of the music video, together with DPR IAN's performance, work to convey the message of the song in a satisfactory way, bringing the introspection and reflection proposed by the artist, while also intensifying and making explicit a pain that he also wants to hide.
WHAT CAN FILMS DO IN A SCHOOL WHERE THE LIGHTS ARE NOT TURNED OFF?
This work addresses Audiovisual Education, recognizing its growing density within the context of Visual Culture and the school environment. It aligns with academic research that narrates the relationships between audiovisual media and education through experience and first-person perspectives, mobilizing authors such as Larrosa Bondía, bell hooks, and Conceição Evaristo. The research is an embodied writing, motivated by the author's work as an Arts teacher in two CIEPs in the Complexo da Maré, Rio de Janeiro. In a challenging context of material limitations, the study reflects on didactic sequences that seek to develop audiovisual spectatorship as a plastic and expressive construction, moving beyond mere signification or literacy. By adopting a post-structural anti-method, the research is constructed as an image-essay attentive to teachers’ knowledges and practices. The practical focus lies in pedagogical devices created from the screening of films (such as Bread and Alley, For the Birds, and Maluum), followed by expressive activities such as comic drawings, the creation of timelines, and the design of posters/invitations. These practices aim to foster students’ expression, recognizing everyday school life as a field that imposes itself upon any pretense of success or systematic organization.
The recognition of a film goes beyond its artistic quality, the strength of its narrative, or the emotion it provokes in the audience. For a cinematographic work to achieve prestige, it is necessary to attract the attention of its audience in order to gain visibility. In this context, the promotion of a film is intertwined with the fate of the work itself, and the structuring of publicity campaigns is a decisive factor in its impact at the national and international levels. Based on this perspective, this article aims to analyze how different communication tools—such as advertising, publicity, marketing, and public relations—influence the visibility of a film production. The methodological approach consists of a case study of the film Ainda Estou Aqui (I'm Still Here), which portrays oppression during the military dictatorship in Brazil and stood out at the world's most important film awards, with fierce competition from American films, three nominations, and an Oscar statuette.
Cinema. Visibility. Promotion. Communication. Oscars.
DIGITAL REINTERPRETATIONS OF VIDAS SECAS, BY GRACILIANO RAMOS
Literary reading, despite its relevance for critical, creative, and civic development, still faces pedagogical challenges arising from traditional practices that distance students from the formative potential of literary texts. In the contemporary context, marked by digital culture and multiple modes of communication, it becomes necessary to rethink methodologies that bring literature closer to the digital media and genres present in students’ everyday lives. This article examines how didactic-methodological proposals grounded in digital textual genres can contribute to the development of critical readers in the Final Years of Brazilian Basic Education. The study is based on the reading of Vidas secas, by Graciliano Ramos (2019 [1947]), from which three projects were developed: (i) “Reading in 1 Minute” (production of one-minute videos), (ii) “Reading and Re-Reading” (creation of e-books), and (iii) “Learning by Playing” (development of a digital game). This qualitative, applied, descriptive-analytical research takes the form of an experience report and combines participant observation, analysis of the students’ multimodal products, and documentary examination of theoretical and curricular references. The results indicate that the articulation between literary reading and digital culture fosters authorship, participation, and critical engagement, enhancing inclusion and the meaningfulness of literary texts in the teaching-learning process. The student productions demonstrate synthesis, transposition across semiotic modes, creativity, and aesthetic engagement, confirming the hypothesis that practices based on digital textual genres can reframe literary reading, making it more accessible, engaging, and formative. The proposals also proved to be aligned with the guidelines of the Brazilian National Common Curricular Base (Brazil, 2017), particularly regarding the critical and ethical use of digital technologies, the centrality of texts, and the promotion of multisemiotic practices. It is concluded that pedagogical approaches integrating literature and digital culture constitute effective pathways to strengthen reader formation and renew the teaching of Portuguese Language in Basic Education.
This essay discusses the relationship between Object-Oriented Ontology (OOO) and literature, based on the reading of The overstory (2025), by Richard Powers, in dialogue with Pieter Vermeulen’s ideas in Literature and the Anthropocene (2020). OOO proposes that objects possess autonomous existence and agency, challenging human centrality. Concepts such as Ontological Withdrawal and Ontological Democracy suggest that humans and non- humans coexist on the same ontological plane, without hierarchies. In Powers’ novel, trees and underground networks of vegetal communication emerge as active narrative forces that directly influence human characters. This approach exemplifies ontological withdrawal, as even with scientific advancements, the inner life of trees remains partially inaccessible. The narrative also engages with ontological democracy by presenting the protagonism of the non-human, displacing humans from the center of the story. Vermeulen, however, highlights the limits of OOO. He criticizes the risk of object fetishism, which disregards historical and ecological contexts, and warns that equating humans and non- humans may weaken political responsibility in the face of the environmental crisis. In Powers, this tension appears through poetic anthropomorphisms, attributing human characteristics to trees, which challenges the philosophical framework. In conclusion, Powers’ work functions as a literary experiment, expanding the ecological imagination by incorporating non-human voices while also exposing the challenges of articulating aesthetics, philosophy, and politics. The dialogue between literature and OOO offers pathways for reflecting on coexistence and ethics in the Anthropocene, a highly relevant theme for contemporary reality.
This paper presents, through an applied and qualitative approach, the development of the digital game Hidden Dengue, conceived as an educational tool based on storytelling and scenario analysis to raise awareness about dengue and other arboviruses prevention. Developed by Computer Science students at a private Brazilian university, the project integrates technical knowledge about usability and web development with social responsibility and public health education. Using accessible technologies such as HTML, CSS, and JavaScript, along with graphic resources generated by artificial intelligence, the game was designed for children, especially those aged 6 to 10 years. Its mechanics are based on identifying Aedes aegypti breeding sites in different narrative scenarios, using play elements such as lives, levels, and educational messages. The development followed four stages: research and requirements definition; interface prototyping; testing and adjustments; and finalization of the beta prototype. The adopted methodology incorporated usability and gamification principles, focusing on digital game-based learning (DGBL). Initial results indicate that the expected learning objectives for the computing discipline were achieved. Furthermore, preliminary and informal tests with users revealed positive reception and effective sensitization through storytelling and game mechanics. The project demonstrates how well-structured, low-cost solutions can significantly contribute to health promotion and citizenship education. Aligned with the United Nations Sustainable Development Goal 3 (Good Health and Well-being), Hidden Dengue highlights the potential of digital games and storytelling as pedagogical tools in combating endemic diseases. As future steps, structured tests with the target audience are planned to collect data on the learning experience and improve the game.
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This article aims to introduce the Italian poet Guido Gozzano (1883-1916), contextualizing the reader regarding the historical, cultural, and literary period that he lived and wrote in, to facilitate the apprehension of the messages contained in his poetry, which offers a new perspective on the complex 20th century. In light of this objective, the work begins with an introduction to the Novecento and the literary movement labeled as Crepuscularism, illustrating its fundamental characteristics and how it reflected the diversity of the time, before moving on to Gozzano. Born in Turin, the poet was an admirer and avid reader of influential figures in Italian literature, such as Dante Alighieri (1265-1321) and Gabriele D'Annunzio (1863-1938). In the first decades, he eventually started to distance himself from the refined dannunziano aesthetic, becoming the representative of crepuscular aesthetics after the publication of the books La via del rifugio (1907) and I Colloqui (1911), which highlight his ability to blend irony and melancholy through colloquial language and traditional meter, addressing themes such as inadequacy and illness, which originated in the second half of the 19th century with the effects of post-unification. After presenting this fundamental overview, and considering the importance of bringing Guido Gozzano to light to emphasize the importance of his work for Italian literature studies in Brazil, an analysis of the illustrious poem Alle soglie (1911) will be carried out with reflections obtained from reviews on the theme of translation, an activity that helped in the resolution of the first task, favoring the development of research in the area.
A pioneering study on the use of mise en abyme technique
A VARIAÇÃO LINGUÍSTICA MARANHENSE E A CONSTRUÇÃO DA IDENTIDADE
Este artigo tem como temática principal a variação linguística no contexto maranhense, com ênfase no léxico como expressão de identidade cultural, social e ideológica. A partir da perspectiva da língua como forma de interação social, o estudo descreve duas experiências práticas com atividades lúdicas desenvolvidas em aulas de Língua Portuguesa para turmas do 9º ano do ensino fundamental em uma escola pública de São Luís (MA). O objetivo é propor a valorização da identidade maranhense por meio do reconhecimento da diversidade linguística local. Para tanto, a base teórica é constituída de autores como Gonçalves (1994), Mira Mateus (2002), Ramos (2010), além de documentos educacionais importantes no Brasil, como os Parâmetros Curriculares Nacionais, PCNs (2015), e a Base Nacional Comum Curricular, BNCC (2018). Sendo assim, o processo metodológico envolveu leitura bibliográfica, a construção de um corpus e a aplicação prática na realidade escolar. Como resultado, há duas atividades didático-pedagógicas que podem ser utilizadas (ou adaptadas, conforme as diferentes realidades) por professores. Tais práticas em sala de aula reforçam ainda mais a importância do tema, oferecendo propostas eficazes aos professores da educação básica de todo o país. Portanto, a relevância desta pesquisa reside na importância de se reconhecer e valorizar a variação linguística como um elemento essencial na construção da identidade cultural e social dos estudantes brasileiros. No contexto maranhense, é notório que a compreensão das especificidades do léxico local não só contribui para o fortalecimento da identidade individual e regional, como também promove uma abordagem inclusiva e respeitosa da diversidade linguística.
Passados oitenta anos da Segunda Guerra (1939-1945), este artigo realiza um exame comparativo entre a produção literária e a historiografia do século XX, com destaque para Eric Hobsbawm (1917-2012), ao analisar “O mau humor de Wotan”, narrativa que abre Ave, palavra (1970), de João Guimarães Rosa (1908-1967). Emulando a ambiguidade das relações humanas e de poder no período, a ficção rosiana combina estruturas do conto e da crônica, motivo pelo qual denomino essa e outras narrativas de sua experiência alemã de “croniconto”. Nela, o autor retrata o contexto beligerante alemão por meio do casal Hans-Helmut e Márion Heubel, personagens ficcionais e amigos reais de Rosa durante sua atuação como cônsul em Hamburgo, cujas vidas foram devastadas pelo projeto expansionista de Hitler (1889-1945), o “Wotan” do título. Com base em levantamento bibliográfico e no retrato da Alemanha às vésperas da guerra, o estudo desenvolve leitura dialética que mostra como episódios da história ocidental permeiam a ficção rosiana, ao mesmo tempo em que esta preenche lacunas historiográficas. Amparado na Estética da Recepção de Jauss, sobretudo no horizonte de expectativas, o artigo examina o percurso das sociedades ocidentais no “breve século” de Hobsbawm (Era dos Extremos, 1994), buscando compreender formas de subsistir diante da crise dos valores iluministas. A articulação entre literatura e historiografia permite, assim, ampliar a interpretação de uma das faces da contemporaneidade, marcada pela ruína de impérios e pelo abalo da civilidade frente à violência.
Graffiti as a art of the gesture of transgression and resistance
In this article, we understand graffiti as an action and intention to resist and transgress. From an analytical basis based on triadic semiotics, the objective of this reflection is to work graffiti as semiosis, as a gesture of creation, as art and creative power action, as a possibility, as a confrontation to oppression. We observe graffiti as an act of communication and resistance to censorship, which strengthens democracy to understand freedom. We understand graffiti as an operator of meaning, a gesture that, straining censorship, proposes possibilities of freedom. We see the importance of graffiti, because on the wall is the gesture of episteme that seeks to politicize censorship and thus transgress, saying what can not be said by silent voices, in spaces that should not be used. By transgressing the established, graffiti configures an iconoclastic semiosis, which acts in the provocation of estrangement and dialogues; therefore, it conflicts with the dominant logic, inserting gaps in the semiosphere of consumption and oppression. The photographic images, of our authorship, are the analytical record and act as illustrations that, continuous in the text, enable the inferences made during the article. The reflections and analyses presented here are based on different researches on the subject.
Graffiti. Resistance. Censorship. Freedom. Democracy.
Copyright (c) 2025 Ursula Betina Diesel, PhD. Pedro Russi https://creativecommons.org/licenses/by-nc/4.0
BETWEEN THE GESTURE AND THE NETWORK: EDITING AS AN OPERATION OF CONNECTIONS IN NA ILHA (2020)
Anchored in the theoretical frameworks of Vilém Flusser (2014) and Cecília Salles (2010, 2016), this article presents an analysis of the documentary Na Ilha (2020) as a filmic manifestation of the gestural operation of connection across different layers: structural (in the archipelago architecture that organizes the film), spatial (in the editing suites conceived as living archives), and processual (in the dynamics of creative tension between editors and raw material). Through a qualitative film analysis, the study investigates how film editing surpasses its technical domain, emerging as a field of creative freedom, collective negotiation, and inventiveness, where material limitations are transformed into expressive resources. By articulating the concepts of gesture (Flusser) and networks/creation (Salles), the study highlights editing’s role in activating collaborative processes and constructing shared meanings. The results indicate that Na Ilha contributes to reconfiguring the perception of editing practice, providing theoretical and methodological insights for future research on other “invisible” cinematic professions, and strengthening the understanding of editing as a space for dialogue, invention, and memory within Brazilian audiovisual culture.
Copyright (c) 2025 Marcos Alex Rodrigues do Andrade https://creativecommons.org/licenses/by-nc/4.0
THE MEDIA APPROACH TO RACISM IN BRAZIL: AN ANALYSIS OF THE LIBERATUM CASE IN SALVADOR
The Liberatum Festival, held for the first time in Brazil with the aim of valuing Afro-Brazilian culture and promoting social change, was marked by episodes of racism against some artists present at the event, generating public repercussions and exposing tensions between institutional discourse and observed practices. Given this contradiction, this research aims to analyze how news coverage portrayed the case, seeking to understand how progressive events and collectives also reproduce logics linked to the structural racism that persists in contemporary Brazilian society. This is a qualitative, exploratory-descriptive study structured as a case study. Articles published online about the case were filtered and analyzed technically to understand how each outlet addressed the issue and whether they provided in-depth insights. Based on the analysis of this material, and with the theoretical framework of authors who portray racism in the media critically and relevantly, such as Lélia Gonzalez and Stuart Hall, it was possible to identify a recurring pattern in media approaches: the overexposure of victims, often portrayed through narratives centered on individual suffering, and the preservation of the image of the aggressors, whose identification and contextualization are often omitted or softened. This form of coverage contributes to the maintenance of symbolic structures that reproduce racial inequalities and shift the focus away from reporting. Thus, the research highlights the importance of a critical approach to the ways in which the media represents episodes of racial violence and their social and communicational consequences.
As páginas dos jornais acadêmicos da Faculdade de Direito de São Paulo foram estruturadas de modo que a poesia e a crítica estivessem lado a lado, configurando-se como contexto propício para que a segunda encontrasse mais um espaço na eterna-singularidade da poesia romântica. Esse cenário, conhecido como publicismo romântico, foi realizado por estudantes que seriam conhecidos como a segunda geração do romantismo brasileiro. O resultado dessa fusão entre o crítico e o poeta foi poesias metalinguísticas que revelaram um código poético não mais intuitivo e oculto por metáforas divinas-religiosas, mas sim elástico e reflexivo a serviço dos costumes estudantis. Somando-se ao fato de a sociabilidade acadêmica garantia-lhes um senso de exceção frente a insípida cultura paulistana da época, a escritura da metapoesia da segunda geração romântica singularizaria mais a sua associação. O corpus da pesquisa considerou 27 jornais acadêmicos, em um intervalo de 1847 a 1869, disponíveis na Hemeroteca Digital da Biblioteca Nacional. A leitura dos periódicos encontrou três intenções metalinguísticas principais: a tentativa de construção de uma tradição literária, realização de moderadas críticas e autocríticas em versos esparsos e humor corrosivo com desprezo pelo código poético. A prática da metapoesia possibilitou aos acadêmicos das ciências jurídicas e sociais se autoafirmarem frente o contexto romântico oficial. Portanto, à luz de Alfredo Bosi (2019), Gilberto Mendonça Teles (1989), Maria Bochicchio (2012, 2024), Paul Hamilton (2003) e Samira Chalhub (2005), o objetivo deste artigo é analisar as produções metapoéticas que fomentaram a postura reflexiva do estudante romântico evidenciando a atividade suplementar da crítica na criação poética.
A LITERARY ARTIST NAMED TOLKIEN: STYLISTIC DEVICES AND PSEUDOTRANSLATION IN HIS LEGENDARIUM
This article presents an excerpt from a Master's research project that comparatively analyzes two Brazilian Portuguese translations of The Fellowship of the Ring, by J. R. R. Tolkien. It proposes a reflection aimed at understanding how stylistic choices and elements of literariness can be preserved or transformed in the translation process. The first part of the text focuses on the contextualization of Middle-earth and the author's biography. The second part discusses the concept of pseudotranslation and its relevance in Tolkien's writings, highlighting the importance of translation strategies such as domestication and foreignization. The conclusion indicates that the retranslation tends to preserve more features of the original, although different approaches are possible and valid depending on the translator’s objectives. The article also emphasizes and reinforces the linguistic and aesthetic richness of Tolkien’s works, opening space for further studies on style, language, and translation.
CONTEMPLATIVE POSTMODERN MELANCHOLY: SOLITUDE IN GHOST DOG (1999), ONLY LOVERS LEFT ALIVE (2013), AND PATERSON (2016)
This study investigates the intersection between loneliness in contemporary society and its cinematic representation through the notion of "contemplative postmodern melancholy." It examines the disconnection and introspection of individuals in the face of postmodern superficiality, as well as the role of art, philosophy, and poetry as "bridges" for reconnection. The focus lies on three films by Jim Jarmusch — Ghost Dog (1999), Only Lovers Left Alive (2013), and Paterson (2016) — analyzing how their characters experience loneliness and develop strategies of (re)signification. The theoretical framework combines Fredric Jameson’s (1997) postmodernism, Julia Kristeva’s (1989) conception of melancholy, and Laura Mulvey’s (1975) theory of visual pleasure. Methodologically, the research adopts Manuela Penafria’s (2009) film analysis approach, emphasizing scene decomposition and the visual resources that construct a contemplative atmosphere. Thus, it seeks to understand how Jarmusch’s distinctive style portrays loneliness as a central element of his narratives and aesthetic contemplation as a means of resignification in the face of postmodern emptiness.
“FRUITS OF MEMORY”: AN AUDIOVISUAL PORTRAIT OF THE RENATO RUSSO CULTURAL SPACE
Fruits of Memory (2024) is a documentary that portrays the history and living memory of the Renato Russo Cultural Space (ECRR), considered Brasília's first cultural center, by recovering narratives of affection through the experiences shared by its regular visitors during its 50th anniversary celebrations. More than a historical record, the film manifests the bond between the space and its artistic community, revealing how this relationship shapes, strengthens, and perpetuates ECRR's role as a hub of cultural expression and resistance in the federal capital. This article, therefore, is the result of interdisciplinary and applied research, whose objective is to present the theoretical and methodological foundations that underpinned the audiovisual production, while also analyzing the main factors that contributed to the space's consolidation as a reference in the artistic, cultural, and social scene of the Federal District. Based on the concepts of design humanism (Bonsiepe, 2011), the Brasília imaginary (Garrossini; Santos; Nery, 2020), and notes on the experience (Bondía, 2002), an exploratory approach was adopted with three focuses: qualitative, through semi-structured interviews; bibliographic, with a review of design concepts and the ECRR's trajectory; and cartographic, with photographic safaris. Finally, the documentary records the memory of a cultural center that, even amidst structural, budgetary, governmental, and private challenges, is the collective effort that enables its resilience and longevity as a cultural site.
EISENSTEIN - A ARTE, A HISTÓRIA, O BRASIL
Esta resenha examina o trabalho do cineasta soviético Sergei Eisenstein, O Encouraçado Potemkin (1925), que é considerado uma das melhores produções cinematográficas da história. A análise aborda alguns aspectos inovadores criados por Eisenstein, que revolucionaram a linguagem cinematográfica ao usar o poder das imagens para criar narrativas políticas e despertar emoções. O texto também fala sobre os efeitos de O Encouraçado Potemkin no Brasil, onde o filme teve um efeito de empatia com a nossa própria história. Eisenstein criou uma obra que permanece relevante para a compreensão do papel do cinema na representação e no debate sobre a revolução e a luta ao unir arte e história.
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BETWEEN THE WORD AND DESIRE: HOMOSEXUALITY ON STAGE
This article analyzes the representation of homosexuality in 19th-century Brazilian realist literature, with emphasis on the novels O Cortiço (Aluísio Azevedo, 2010) and Bom Crioulo (Adolfo Caminha, 2010). Set within a historical context marked by social, political, and cultural transformations, these texts portray same-sex relationships in a pioneering way, challenging the taboos and prejudices of their time. Through a critical approach that articulates social determinism and the principles of naturalism, the novels expose the desires, affections, and conflicts of their characters, revealing the hypocrisy of dominant moral values and the tensions between body, sexuality, and power. The adopted methodology is descriptive literary analysis, with a qualitative and bibliographic nature, grounded in the theoretical contributions of Foucault (1988), Coutinho (2002), Bosi (2002), Candido (2006), Moreira (2012), among others. The analysis highlights the importance of these authors in expanding the literary discourse on sexual diversity in Brazil, contributing to a broader understanding of same-sex relationships during a period of profound social change.
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Este artigo analisa as construções da masculinidade nos contos La vitrola (Josefina Plá, 1953) e Ver para creer (Ángeles Mastretta, 2007), explorando o papel do homem na família e na sociedade, bem como as dinâmicas de gênero que permeiam essas narrativas. Ambos os textos apresentam diferentes representações da masculinidade, contrastando modelos tradicionais e opressores com figuras que desafiam normas estabelecidas. Em La vitrola, o protagonista Cepí, um jovem trabalhador, rompe com os padrões sociais ao se casar com Delpilar, uma mulher negra e mais velha. O casal enfrenta forte resistência da sociedade, e Cepí sofre intensa pressão para abandonar sua esposa, evidenciando o peso do preconceito e da discriminação. O conto aborda questões como racismo, etarismo e hipocrisia social, ao mesmo tempo que propõe uma visão alternativa da masculinidade, baseada no afeto e na resistência contra normas opressoras. Já em Ver para creer, a narrativa segue Paula, uma mulher que dedicou sua vida ao marido, um político egocêntrico que a troca por uma mulher mais jovem. Após diversas tentativas de suicídio, Paula se reinventa e se torna uma executiva bem-sucedida. O conto critica a masculinidade pautada no poder e na ausência de empatia, revelando a desigualdade de gênero presente nas relações afetivas e sociais. Como suporte teórico, utilizamos as obras e estudos de Carla Akotirene (2019), Gerda Lener (1990), Antonio Candido (2006), dentre outros. Dessa forma, o estudo evidencia como as autoras utilizam a interseccionalidade de gênero, classe e etnia para questionar concepções tradicionais de masculinidade e sugerir novas perspectivas sobre as relações de poder.
O artigo se propõe a discutir a complexidade da figura monstruosa a partir do personagem Cipriano, fruto do universo fantástico do diretor brasileiro Rodrigo Aragão. Assim, debruça-se sobre dois artefatos culturais: o filme O Cemitério das Almas Perdidas (2020), dirigido por Rodrigo Aragão, e a história em quadrinhos O Livro Maldito de Cipriano, escrita e desenhada por Eduardo Cardenas, com o objetivo de analisar como o personagem Cipriano se apresenta em cada um deles. Dessa forma, tem-se uma análise transmídia. Nesse sentido, considera-se as particularidades que cada um desses artefatos culturais pode apresentar, embora a análise esteja centrada em um mesmo personagem, pertencente a um mesmo universo. Para os fins propostos, considerando as complexidades e problemáticas que podem surgir a partir da análise de dois artefatos culturais distintos, parte-se do campo teórico dos Estudos Culturais, adotando a metodologia da etnografia de tela como norteadora, mas utilizando como aporte, respectivamente, o método comparativo e a análise cultural. Acredita-se que o artigo tem o potencial de apresentar a complexidade com que a figura monstruosa pode se manifestar em uma narrativa de horror, independentemente do artefato cultural. A partir da figura monstruosa do personagem Cipriano, nota-se a complexidade e as multifacetas do monstro, que se apresenta como uma figura intimamente relacionada com o contexto histórico e sociocultural em que está inserida. O personagem Cipriano, para além de evidenciar o potencial do horror brasileiro, contribui para problematizações valiosas a respeito de como lidamos com a diferença na sociedade e ao longo da história brasileira.
RETOMADAS E ESPELHAMENTOS DE ALGUNS ELEMENTOS DO CONTO “O COBRADOR” PELO ROMANCE O MATADOR
The main objective of this article is to analyze excerpts from two texts of contemporary Brazilian literature. The first is the short story “O cobrador” by Rubem Fonseca, and the second is the novel O matador by Patrícia Melo. Both works share very similar themes and styles. These narratives address the issue of urban violence, exposing the cruel side of human nature through acts of barbarism. The texts are written in a direct and objective manner, bringing their authors closer in terms of style. Based on the concept of intertextuality, developed by researcher Julia Kristeva in 1966 and grounded in the studies of philosopher Mikhail Bakhtin, we will discuss the various connections that can occur between texts. Our focus will then shift to the technique of mise en abyme, which originates from the early twentieth-century writings of André Gide. As our main theoretical framework, we will employ El relato especular by Lucien Dällenbach (1991), complemented by critical studies by Alonso (2017, 2024), Carvalho (1983), Ginzburg (2010), Goulet (2006), Labeille (2011), and Nitrini (2021). The objective is to identify and analyze the presence of this technique in the relationships of embedding and mirroring that can occur between distinct works or within a single text. In our analysis, we examine the interaction between the two aforementioned works, demonstrating that mise en abyme has the capacity to create a highly distinctive reading experience, enhancing key aspects of the selected narratives. Furthermore, this technique can serve as a valuable object of study not only in emerging literary texts but also in works published in previous periods, thus opening possibilities for further research. In this way, its versatility and relevance within contemporary literary studies become evident.
CULTURE AND COMMUNICATION IN HORKHEIMER:
This research carries out a bibliographical investigation of several works by Karl Marx, Friedrich Engels and Max Horkheimer to explain certain aspects of the development of Critical Theory as a historical-dialectical materialist theoretical approach. With these considerations, the reflections and observations of the three authors on the formation of culture in the material and historical constitution of society are highlighted, as well as the conflicts and contradictions in which cultural productions are inserted. Thus, the scenario is created to discuss how thinkers observe communication, more specifically the media, within the ideological dynamics and class disputes of capitalist society.
THE SYMBOLISM OF WATER IN THE MIRACLE SONGS OF DON AFONSO X: CANTIGA 95 DE SANTA MARIA
The Cantigas de Santa Maria (Songs of St. Mary), composed in the 13th century by order of King Afonso X the Wise, constitute a rich panel of medieval culture and reveal the deep relationship between medieval man and nature, especially water which, in this scenario, emerges as a central element, full of symbolism and meaning. In a context marked by strong religiosity and a close relationship between man and nature, water, present in various manifestations - from the rains that fertilize the earth to the oceans that inspire fear - plays a fundamental role in the miracles attributed to the Virgin Mary. CSM 95, for example, recounts an episode in which the Virgin calms a storm, transforming the previously threatening water into an instrument of salvation. Analyzing water in the Cantigas de Santa Maria allows us to understand how this natural element intertwines with the sacred, mediating the relationship between man and the divine. The Virgin Mary, as a maternal and protective figure, uses water as an instrument to perform her miracles, demonstrating her power over the forces of nature and her compassion for men. By exploring this theme, this work seeks to contribute to a better understanding of medieval popular religiosity and the relationship between man and the environment. As well as being an essential element for life, water is a powerful cultural symbol, loaded with meanings that transcend time and space. The circumstances surrounding water are manifold and it has become an element of our lives.
Water. Cantigas de Santa Maria. Miracles. Images. Text