CALL FOR PAPERS - REVISTA CIENTÍFICA/FAP ONLINE (ISSN 1980-5071) Dossier: Cinematography in Latin American Audiovisualities
This is the call for submission of works to Revista Cientifica/FAP, vol. 32, n. 1 (Jan/Jun 2025). The online journal, focused on the field of Arts, is a biannual publication from the Curitiba II campus (Faculty of Arts of Paraná) of UNESPAR, and aims to disseminate articles, reviews, essays, interviews and translations produced by Doctors and Masters. In addition to the Continuous Flow (works in the area of Arts, without thematic delimitation), the journal will receive works for the Dossier Cinematography in Latin American Audiovisualities organized by Professors Andréa C. Scansani (UFSC), Antoine d’Artemare (ESPM/RJ), Marina Cavalcanti Tedesco (UFF) and Rogério Luis Oliveira (UESB).
The moving image, whether it is a disciple of the immense plurality of audiovisual practices or of the cinematic tradition, is capable of stimulating sensations that sharpen our perceptions and puts us in contact with the most reserved refuges of our subjectivities. It is, as a rule, the result of an intricate construction, in which photography direction plays a substantial role and whose particularities are the subject of this dossier.
The link necessarily established between the technical specificities of the moving image and its Power of expression is often taken as evident and natural. We accept the contract, for example, between narrative cinema and its planned transparency without delving into the subtleties of the image itself, at the same time that the excess visibility of matter offered by other audiovisual forms, such as experimental cinema, tends to disconcert us. Whether due to lack or excess, we end up moving away from the material nuances that are constructed throughout the works, even though we know that it is precisely through them that the image manifests and reveals itsef.
During the last decade, studies in cinematography, photography direction and/or audiovisual photography have prospered with great momentum. Essential for the construction of moving images, the area operates as one of the most significant foundations of audiovisual creation shaped in multiple formats and narrative genres. This importance is reflected in the growing theoretical-scientific flow consolidated by events, articles, essays and books whose approaches are based on the materiality provided by photography. Therefore, the images that shape cinema, television, video arts, social networks, games, exhibition platforms and countless audiovisual develpments offer vast material for research in the area. Whether due to its political strength in the scrutiny of power relations established by its choices, its plastic and sensorial potential, its fluent intermídia transit or its articulation with achaeological and genealogical procedures, this field has effective scientific vigor.
When we direct our gaze to Latin American experiences, the horizon of investigative possibilities becomes even more tempting. Because the practices of systematizing cinematography – with theoretical predominance dictated by authors from the North Atlantic, albeit in a dispersed way – have been refined and organized based on local initiatives and the understanding that the field forms a cohesive set of theoretical-methodological perspectives grouped under one mantle: that of audiovisual photography. That said, we invite researchers in the field to compose this dossier, which aims to bring together articles, essays, reviews, interviews and translations dedicated to photography in motion, focusing on experiences developed in Latin America, with special attention to the materiality of the image in various audiovisual formats.
References:
ADES, Eduardo; KAUFMAN, Mariana. Luz em movimento: a fotografia no cinema brasileiro. Rio de Janeiro: Imagem-Tempo Produções, 2007.
ALEKAN, Henri. Des lumières et desombres. Paris - Centre national des Lettres e Cinémathèque française, 1984.
ALMENDROS, N. Días de una cámara. Barcelona: Barral - Seix, 1996.
ARONOVICH, Ricardo. Expor uma história. Rio de Janeiro: Gryphus, 2011.
AZEMA, Marc. La Préhistoire du cinéma: origines paléolithiques de la narration graphique et du cinématographe. Paris: Errance-Actes Sud, 2011.
BROWN, Blain. Cinematografia, teoria e prática: produção de imagens para cineastas e diretores. Rio de Janeiro: Elsevier, 2012.
CAKOFF, Leon. Gabriel Figueroa: o mestre do olhar. São Paulo: Edições da Mostra, 1995.
CALDAS, Aline de; CALHADO, Cyntia Gomes (orgs.). Cinematografia, Expressão e Pensamento: volume 2. Curitiba: Appris, 2021.
CAVALCANTI TEDESCO, Marina. “Marcas de Gênero nos Manuais de Cinematografia e na Prática Fotográfica do Cinema Mexicano Clássico Industrial”. Revista Universitária do Audiovisual, 2013. Disponível em https://www.rua.ufscar.br/marcas-de-genero-nos-manuais-de-cinematografia-e-na-pratica-fotografica-do-cinema-mexicano-classico-industrial/
CAVALCANTI TEDESCO, Marina. “Mulheres atrás das câmeras: a presença feminina na direção de fotografia de longas-metragens ficcionais brasileiros”. Revista Significação, v. 43, n.4, 6 p. 47–68, 2014. DOI: https://doi.org/10.11606/issn.2316-7114.sig.2014.83423.
CAVALCANTI TEDESCO, Marina; LUIZ OLIVEIRA, Rogério (ORG.). Cinematografia, expressão e pensamento: volume 1. Curitiba: Appris, 2019.
EBERT, Carlos. “Pequena história da cinematografia no Brasil”. Em Historia Analítica de los Medios Audiovisuales - Cátedra Marino. Universidad de Buenos Aires [s.d.]. Disponível em: https://hamamarino.wordpress.com/pequena-historia-da-cinematografia-no-brasil/.
GIANNOTTI, Marco (org). Reflexões sobre a cor. São Paulo: Martins Fontes, 2021.
HEFFNER, Hernani; RAMOS, Lécio Augusto. Edgar Brasil, um ensaio biográfico: aspectos da evolução técnica do cinema brasileiro. Rio de janeiro, 1988.
HEFFNER, Hernani. “Fotografia de cinema no Brasil: percursos e tendências”. I Encontro Brasileiro de Fotografia em Movimento (MOVI), 30 de junho de 2021. Disponível em https://www.direcaodefotografia.com/movi1
HERNÁNDEZ, Amelia; PALCY, Euzhan. "Martinica. Si los negros se ven azules no es un problema de técnica, sino de sensibilidad, 1983". Em Hojas de cine: testimonios y documentos del nuevo cine latinoamericano. Vol. III., Centroamérica y El Caribe, 1988, p. 285-290.
LOISELEUX, Jacques. La lumièreen cinema. Paris: Cahiers duCinéma, 2004.
LUIZ OLIVEIRA, Rogério. Memória e criação na direção de fotografia audiovisual. Rio de Janeiro: Multifoco, 2023.
LUIZ OLIVEIRA, Rogério. Memória e poética na cinefotografia. In: GUSMÃO, Milene de Cássia Silveira e NERY, Maria Salete (org.). Memória e Expressões Culturais: tessituras entre tempos e fazeres. Vitória da Conquista: Edições UESB, 2025.
MORALES, Iván. “Escala en Buenos Aires: los primeros años de John Alton em el cine argentino”. Imagofagia, n. 17, 2021. Disponível em https://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/214
MOURA, Edgar. 50 anos de luz, câmera e ação. São Paulo: SENAC, 2001.
ROURE, Ana Carolina; FONSECA BESEN, André; CORRÊA BOMFIM, Felipe; RISCALI, Fernanda (ORG.). Estudos sobre a direção de fotografia no Brasil. Cachoeirinha/RS: Editora Fi, 2023. Disponível em: http://dx.doi.org/10.22350/9786559177271.
SALT, Barry. Film style and technology: history and analysis. Starword: Londres, 2009.
SCANSANI, Andréa C. “Notas [quase] pessoais sobre cinematografia”. Imagofagia, n. 21, 2020. Disponível em https://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/79
SCANSANI, Andréa C. “A insurreição da imagem ou quando o cinema visita Raoul Ubac”. ARS (São Paulo), 19 (41), p. 53-101. Disponível em https://doi.org/10.11606/issn.2178-0447.ars.2021.169683
SCANSANI, Andréa C.; GUTERRES de MELLO, Jamer (org.). Por uma teoria compartilhada: ideias, processos e práticas de cineastas. Cachoeirinha/RS: Editora Fi, 2023. Disponível em https://www.editorafi.org/ebook/a053-por-teoria-compartilhada
SCHETTINO, Paulo B. C. Diálogos sobre a tecnologia do cinema brasileiro. Cotia: Ateliê Editorial, 2007.
SCHWAB, Pierre-Alexandre. Henri Alekan: L'enfant des lumières. Paris: Hermann, 2012.
SOURANG, Diarra. Filmer lês peaux foncées: réflexions plurielles. Paris: L’Harmattan, 2019.
DEADLINES: Submissions of works will be accepted until January 31st, 2025, by registering and filling in all the data, on the website: http://periodicos.unespar.edu.br/index.php/revistacientifica. We suggest that interested authors check the “Conditions for submission” and “Guidelines for authors” sections at: https://periodicos.unespar.edu.br/index.php/revistacientifica/about/submissions
