PanamÃricas utÃpicas China

Panaméricas utópicas: 

Panaméricas utópicas Entranced and transient nations in I Am Cuba and Land in Trance LÚCIA NAGIB

Reinterpreting the nation: 

Reinterpreting the nation Trance + Revolution

Anti-realist devices: 

Anti-realist devices poetic language synecdoche personification parable allegory

Glauber Rocha’s “land trilogy”: 

Glauber Rocha’s “land trilogy” “Trilogia da Terra” 1964: Deus e o diabo na terra do sol (Black God, White Devil or God and the Devil in the Land of the Sun) 1967: Terra em transe (Land in Anguish or Land in Trance) 1980: A idade da terra (The Age of the Earth)

“Terra” and “land”: 

“Terra” and “land” Meanings: any given territory; the home country or motherland; the nation. Aditional meaning of “terra”: the planet Earth

Synecdochical procedure: 

Synecdochical procedure A part for the whole: The backlands (sertão) stand for the entire country (Brazil).

From the land to a continent and to the globe: 

From the land to a continent and to the globe Glauber Rocha’s Latin American project: one land stands for all others sharing a similar history. The totalising impulse: the land as Earth.

Synecdochical procedure in I Am Cuba: 

Synecdochical procedure in I Am Cuba Personification: one person stands for the whole country.

Concepts of “transe” and “trance”: 

Concepts of “transe” and “trance” Meanings of “transe” in Portuguese: “distress”, “risk”, “danger”, “hazard”, “crisis”, “anxiety”, “struggle”, “fight”, “the state of a medium possessed by a spirit”, “passage”, “death”. Meanings of “trance”: a sleep-like state, caused, for example, by hypnosis”; “a dreamy state in which one concentrates on one’s thoughts remaining oblivious of the world around”.

The “trance” as film form: 

The “trance” as film form Content: characters in permanent state of mental upheaval, in countries going through revolutionary processes; Form: ideas of trance and revolution conveyed by the film form.

Glauber and Cuba: 

Glauber and Cuba America nuestra – the failed project Che Guevara and the “Tricontinental” idea The Pan-American project

The globalising sea: 

The globalising sea I Am Cuba Land in Trance

The mythology of the discovery: 

The mythology of the discovery I Am Cuba Land in Trance

The Sea as Revolution: 

The Sea as Revolution Opening of The Battleship Potemkin Closing of Deus e o diabo na terra do sol

The “trance” as a defining feature of Glauber’s work: 

The “trance” as a defining feature of Glauber’s work The trance as experimentation and experience (Ivana Bentes) The trance as national crisis (Ismail Xavier)

Departing from the “land of the sun”: 

Departing from the “land of the sun” Anti-realism arises from the demise of the national project. “The notion of Latin America overrides the notion of nationalisms.” (Rocha)

The “land” in Land in Trance: 

The “land” in Land in Trance Transnational Transcontinental Mythical

Turning the linear into “parabolic”: 

Turning the linear into “parabolic” “shooting to the side” “splintering”

Radicalising the synecdochical procedure: 

Radicalising the synecdochical procedure A subjective point of view is totalised to stand for the state of a land as a whole.

Allegory and condensation of history: 

Allegory and condensation of history Do not produce enlightenment, but ambiguity and enigma. (Xavier)

The combination of inner and outer realities: 

The combination of inner and outer realities The “interior monologue” (Eisenstein): a combination of “the feverish race of thoughts” with “outer reality”. Land in Trance is “a veritable essay on the intersection of art and politics.” (Stam)

The national crisis and anti-realism: 

The national crisis and anti-realism Baroque settings Palaces in the jungle Mixture of languages Poetic dialogues and narration Operatic tone and timing

The foreign gaze: 

The foreign gaze The Cranes Are Flying I Am Cuba

I Am Cuba and Black Orpheus: 

I Am Cuba and Black Orpheus Maria/Betty (I Am Cuba) Eurydice (Black Orpheus)

Types: 

Types In Land in trance: the poet/journalist; the poor peasant; the trade union leader; the priest; the father figure, Díaz; the mother figure, Sara; and the prostituted, objectified woman, Silvia; the international capital, Explint; the media tycoon, Julio Fuentes. In I Am Cuba: the student; the revolutionary leader; the double figure of the virgin-prostitute; the poor peasant; the rich Americans; the international capital, United Fruit.

Myth X Reason: 

Myth X Reason History = the Oedipus complex Politics = faith Political leader = God, the father

The ruling classes and the orgies: 

The ruling classes and the orgies I Am Cuba Land in Trance

The gun as synecdoche and fetish: 

The gun as synecdoche and fetish Land in Trance I Am Cuba

Personification: 

Personification The country personified as a woman and the nationalist narrative.

Christian symbology in I Am Cuba: 

Christian symbology in I Am Cuba Ambiguity leads to trance

Metropolis and the double/multiple Maria: 

Metropolis and the double/multiple Maria

The cross and the Christian symbolism: 

The cross and the Christian symbolism Porfirio Díaz in Land in Trance

The female intellectual go-between: 

The female intellectual go-between I Am Cuba Land in Trance

Slide34: 

I Am Cuba Battleship Potemkin Battleship Potemkin Land in Trance SCREAMING FACES

Expressionist decor in I Am Cuba: disequilibrium, instability, precariousness: 

Expressionist decor in I Am Cuba: disequilibrium, instability, precariousness

Decorative masses and the architecture of power: 

Decorative masses and the architecture of power I Am Cuba Battleship Potemkin Metropolis I Am Cuba Land in Trance