pdf, 9 páginas, 71KB
Neste texto, Antonio Negri pensa as resignificações do termo “comum” a partir da história recente do capitalismo, e de que modo isto altera as experiências de propriedade, trabalho, multidão.
“[…] quando o comum estiver subtraído à acumulação/valorização capitalista, ele se apresenta aberto ao uso da multidão. Ele poderá então ser confiado a uma regulação administrativa democrática e participativa. O importante é reconhecer o comum como modo de produção na nossa sociedade e como produto fundamental do trabalho de todos. A apropriação privada do comum não é, nesse momento, desejável pela comuna dos cidadãos-trabalhadores.”
4 páginas, 55kb, pdf
Preferiríamos calar-nos. Diante do horror e da emoção. Diante dos efeitos da proximidade – porque, o que se passou em Paris, há muito que não cessou de passar-se em Bombaim, Beirute, Cabul, Bagdad, Nova Iorque, Madrid, Casablanca, Argel, Amã, Carachi, Tunes, Mossul, etc. etc. Diante da miséria das nossas indignações (justificadas mas vazias) ou dos nossos protestos (“dever-se-ia…”, “não há senão que…”) – e do chumbo das perspectivas (controlo, riposta…).
Tradução e apresentação: Anderson Fortes
pdf, 5 páginas, 65kb
pdf, 304 páginas, 1.68MB
In ‘Soundings on Cimena’, film critic Bert Cardullo engages nine major international film directors – Antonioni, Bergman, Bresson, De Sica, Felini, Kaurismaki, Leigh, Renoir and Syberberg – in a series of dialogues about how they work and the meanings of their films.
pdf, 420 páginas, 1.62MB
Italian novelist, poet, and filmmaker Pier Paolo Pasolini was brutally killed in Rome in 1975, a macabre end to a career that often explored humanity’s capacity for violence and cruelty. Along with the mystery of his murderer’s identity, Pasolini left behind a controversial but acclaimed oeuvre as well as a final quartet of beguiling projects that signaled a radical change in his aesthetics and view of reality.
The Resurrection of the Body is an original and compelling interpretation of these final works: the screenplay Saint Paul, the scenario for Porn-Theo-Colossal, the immense and unfinished novel Petrolio, and his notorious final film, Salò or the 120 Days of Sodom, a disturbing adaptation of the writings of the Marquis de Sade. Together these works, Armando Maggi contends, reveal Pasolini’s obsession with sodomy and its role within his apocalyptic view of Western society. One of the first studies to explore the ramifications of Pasolini’s homosexuality, The Resurrection of the Body also breaks new ground by putting his work into fruitful conversation with an array of other thinkers such as Freud, Strindberg, Swift, Henri Michaux, and Norman O. Brown. fonte: https://www.press.uchicago.edu/ucp/books/book/chicago/R/bo5951682.html
pdf, 282 páginas, 4.13MB
The name of no other filmmaker is more synonymous with the dramatic rise of Iranian cinema in the aftermath of the Islamic Revolution than Mohsen Makhmalbaf. While an array of globally renowned pre-revolutionary filmmakers like Abbas Kiarostami, or an equally distinguished younger generation of directors like Jafar Panahi, is widely known and justly celebrated, the cinema of Mohsen Makhmalbaf remains singularly coterminous with the vicissitude of a massive social revolution that has shaken an ancient culture to its normative foundations.
Over the last quarter of a century, the spectacular career of Mohsen Makhmalbaf has reflected the tumultuous history of his homeland and the fate of its neighboring countries and cultures. While he began his cinematic career in Iran proper, Makhmalbaf subsequently expanded the domain of his monumental and exhilarating cinema to Turkey, Tajikistan, Afghanistan, Pakistan, India, and now even France and the rest of Europe. With one surprising film after another, Mohsen Makhmalbaf has extended the sphere of his effervescent imagination from one country and culture to another, experimenting with an old medium in vastly diversified and ceaselessly innovative manners.
In Makhmalbaf at Large, Hamid Dabashi, the author of the widely celebrated book on Iranian cinema, Close Up: Iranian Cinema, Past, Present and Future, brings together the result of more than a decade of his close friendship with–and research and reflection on the tumultuous life and spectacular career of–Mohsen Makhmalbaf into one highly readable and deeply engaging narrative. Makhmalbaf at Large is as much a vastly learned and deeply cultivated reflection on the cinematic career of one of the most spectacular filmmakers in the world, as it is the story of a deeply moving and fruitful friendship between a restive cultural icon and a restless cultural critic–a story that soon after it begins transcends the domain of an ordinary cultural criticism and begins to assume the literary life of its own.