Resumo

CORREIA, Donny. The paradox of cinema in Brazilian modernism. J. psicanal. [online]. 2022, vol.55, n.103, pp.219-234.  Epub 08-Jul-2024. ISSN 0103-5835.  https://doi.org/10.5935/0103-5835.v55n103.18.

This article intends to reflect on plausible reasons for the absence of cinema in the agenda of the organizers of the 1922 Art Week, a group that paradoxically extolled the film as something genuinely modern. We speculate that this absence is due to the poor scenario of professional national production at the time, however examining some cinematographic works produced shortly after 1922, which may be in line with the aesthetic and poetic ideals of the first modernists. We also refer to the legacy bequeathed by modernism to generations of filmmakers who would become consecrated from the 1960s onwards. Our intention is to establish a perspective that reflects on the formation of Brazilian cinema from the metropolis of São Paulo and how this phenomenon permeated the following decades forming, reforming and deforming aesthetic and technical scenarios, from its embryonic moment to the full establishment of an audiovisual legacy.

Palavras-chave : modernism; cinema; José; Medina; Humberto Mauro; new cinema.

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