Cinescrita das salas universitárias de cinema no Brasil.

Abstract

Seeking to think beyond the traditional models of commercial exhibition of films, this thesis travels through short-circuits of leakage, artisanal ways of proceeding, in a bet on alternative diffusion projects, more precisely cinemas located in public Universities. The objective is to find out which experiences the University rooms allow in contemporary times, especially in regard to relations with Brazilian independent cinema. To this end, the cartographic method with a cinematographic ambience is put into practice: a cinescrita inspired mainly by Agnès Varda’s way of filming. When analyzing the multiplicity of profiles and modes of operation of the nine University cinema rooms that form the corpus of the research, the cinescrita makes use of a more vernacular language, which touches on cinematographic procedures, making use of the fabulation of scenes and the invention of characters to account for the intensities of a field research that runs from the south to the northeast of the country. A cinescrita composed also of frames, which act as cartographic tracks; of videos offered as visual experiences and of a compositional strategy based on editing, sewing wefts and knots. It is an experiment drenched in cinema, which flirts with different notions about experience, based on a theoretical framework that dialogues, above all, with Sales Gomes, Rolnik, Didi-Huberman, Rancière, Deleuze and Guattari. From this entanglement, the cinescrita aligned three nodes, creating an affective landscape of the University rooms: curation of affection; experience of being-together and micropolitics of experimenting. Thus, the thesis bets on the power of a non-profit exhibition circuit, by affirming the strength of Brazilian public Universities to act as devices for new sharing from the cinema.