“E como não há foto alguma desse encontro, reúno-os aqui”: fotografia e cinema nas poéticas de Leila Danziger e Marília Garcia

Abstract

This research discusses intermediality in contemporary Brazilian poetry, based on the lyrics of Marília Garcia and Leila Danziger and focusing on the relationships established with photography and cinema. The analysis unfolds into three chapters, aiming to identify how intermediality manifests itself in the authors' works, investigating the similarities and differences in the approach to self-reflection, time and space. The methodology adopted involved comparative literature procedures, based on intermediality studies, guided especially by the intermedial categories proposed by Irina Rajewsky (2005; 2012). As a corpus of analysis, for the development of this thesis, we use the poetics of Marília Garcia in 20 poemas para o seu walkman (2007), Um teste de resistores (2015), Câmera lenta (2017) and parque das ruínas (2018), as well as Leila Danziger's poetry in Três ensaios de fala (2012), Ano novo (2016), C'est loin Bagdad [fotogramas] (2018) and Cinelândia (2021). The analyzes prove our hypothesis that images are constitutive elements of the poetics of both poets, not only as an important theme for contemporary times, but as a resource for understanding and elaborating the poetic process itself, personal and historical memories and space. The conclusions indicate that, although intermediality is a prominent feature in the authors' poetics, the word does not have its power reduced; on the contrary, images are often used to broaden the reflection on the word itself, enhancing it and helping it in what is possible to say. This becomes clear when we see that, in proportion, the presence of intermedia references is much more intense than that of the combination of media, that is, the poem is, repeatedly, responsible for materializing, in words, the images it uses.