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Godard-Garcia connection: in cinema's trail, the poem

Grant number: 23/09702-0
Support Opportunities:Scholarships abroad - Research Internship - Doctorate
Effective date (Start): January 20, 2024
Effective date (End): July 29, 2024
Field of knowledge:Linguistics, Literature and Arts - Literature - Brazilian Literature
Principal Investigator:Diana Junkes Bueno Martha-Toneto
Grantee:Yasmin Bidim Pereira dos Santos
Supervisor: Joana Matos Frias
Host Institution: Centro de Educação e Ciências Humanas (CECH). Universidade Federal de São Carlos (UFSCAR). São Carlos , SP, Brazil
Research place: Universidade de Lisboa, Portugal  
Associated to the scholarship:21/00727-4 - POETRY, DISPLACEMENT: THE CINEMATIC AWARENESS IN THE WORK OF MARÍLIA GARCIA, BP.DR

Abstract

The investigation object of this research internship proposal is the interactistic/intermedial relation the Brazilian poet Marilia Garcia establishes with the filmmaker Jean-Luc Godard. Starting the analysis from poems of the books Um teste de resistores (2016), Câmera Lenta (2017) e Parque das Ruínas (2018), we intend to describe how this relationship would be linked to Garcia's interest in essayistic, metalinguistic and self-reflective forms, a persistent feature in both Garcia's and Godard's work. Garcia employs the concept of montage, which appears in her poems, from the film Pierrot le Fou by Godard as a strategy to think and problematize poetry, elevating it to a "status of transmediality" (FRIAS, 2016). We propose that, more than a reference, Garcia's poetry echoes Godard's cinema: another art form with which the poet shares ideas and aesthetic principles. So, montage would be a kind of sign-concept in which materializes the metaphorical e formally, this relationship of otherness (PAZ, 1996) between Garcia and Godard. The mention to Giorgio Agamben's essay (1998) on Guy Debord's cinema opens to the possibility of a reading of this relationship which would attest to the interest in the essayistic and fragmentary form - the Álbum - to reflect on the contemporary experience marked by the rise of technique - specially the ubiquity of technical image - and its consequent problems about the perception of time and space. Therefore, cinema would configure, in Garcia's work, a means, to see the world and to create poetry, in an attempt to reestablish the lost otherness by "dispersion of the image of the world into disconnected fragments" (PAZ, 1996, p. 106) and to retrieve the image of its mythical (Ibidem) and messianic power. (AU)

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