Détournement-movie: from planning to contradictions

Authors

  • Tatiana Hora Alves de Lima UFMG

DOI:

https://doi.org/10.22475/rebeca.v5n2.254

Keywords:

Desvio, Devir, Tempo histórico, Utopia modernista

Abstract

Based on the notion of détournement, developed as a philosophical method by Guy Debord in the book The society of the spectacle, and as a situationist technique for the critique of the language of spectacle in the essay Methods of Détournement (co-written by Debord and Gil Wolman), we propose to think about the movie Brasília, contradições de uma cidade nova (1967), by Joaquim Pedro de Andrade, as a détournement-movie regarding the short film Brasília, planejamento urbano (1964), by Fernando Coni Campos. The détournement, as opposed to a quotation, goes against the official truth and destroys the meanings proposed by the story of the winners. In its deepest sense, the détournement incorporates the dialectic in the form and calls the past as a becoming. Thus, we confront the different overlappings between cinematic time and historical time presented in the films at issue, taking into account that in Brasília, planejamento urbano the new capital is raised above the story according to the principles of modernist utopia and has mythical origins, whereas in Brasília, contradições de uma cidade nova, which brings various plans and formal principles very similar to the official movie and diverts them, the city is re-historicized as of a critique of the present.

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Author Biography

Tatiana Hora Alves de Lima, UFMG

Doutoranda pelo Programa de Pós-Graduação em Comunicação da Universidade Federal de Minas Gerais

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Published

2017-03-31

Issue

Vol. 5 No. 2 (2016): REBECA 10

Section

General articles

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