Interview with Tata Amaral

  • Lúcia Nagib University of Reading, School of Arts and Communication Design, Department of Film, Theatre & Television, Reading RG6 6BT
  • Samuel Paiva Universidade Federal de São Carlos, Departamento de Arte e Comunicação, 13565-905, São Carlos - SP
DOI: https://doi.org/10.14591/aniki.v5n2.467
Keywords: Retomada Cinema, Intermediality, “Artivism”, Periphery, Gender.

Abstract

Tata Amaral is one of the most important names of the so-called “retomada” cinema, a period of flourishing for Brazilian cinema, beginning in the middle of the nineteen-nineties. This interview was carried in the context of the film Passages that address intermedial devices in cinema, as “passages” for the country’s historical, social, and political realities. Its directors, Lúcia Nagib and Samuel Pimenta, talked with Tata mainly focusing on three of her works: Um céu de estrelas (1997) and her work on historical photographs, the role of music in Antônia (2006), and the strategic importance of theatre in Trago comigo (2016).

Author Biographies

Lúcia Nagib, University of Reading, School of Arts and Communication Design, Department of Film, Theatre & Television, Reading RG6 6BT
Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures at the
University of Reading. Her research has focused, among other subjects, on polycentric approaches to
world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author
of World Cinema and the Ethics of Realism (Bloomsbury, 2011), Brazil on Screen: Cinema Novo, New
Cinema, Utopia (I.B. Tauris, 2007), A Retomada do Cinema Brasileiro: depoimentos de 90 cineastas
dos anos 90 (Editora 34, 2002), Nascido das cinzas: autor e sujeito nos filmes de Oshima (Edusp,
1995), Em torno da nouvelle vague japonesa (Editora da Unicamp, 1993) and Werner Herzog: o
cinema como realidade (EstaçãoLiberdade, 1991). She is the editor of Impure Cinema: Intermedial
and Intercultural Approaches to Film (with Anne Jerslev, I.B. Tauris, 2013), Theorizing World Cinema
(with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with
Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Mestre Mizoguchi
(Navegar, 1990) and Ozu (Marco Zero, 1990).
Samuel Paiva, Universidade Federal de São Carlos, Departamento de Arte e Comunicação, 13565-905, São Carlos - SP

Samuel Paiva teaches History of Cinema in the Department of Arts and Communication at the Federal University of São Carlos, in São Paulo, Brazil. His publications include A figura de Orson Welles no cinema de Rogério Sganzerla (Alameda, 2018) and the co-edited volume Viagem ao Cinema Silencioso do Brasil (Beco do Azougue. 2011). He is one of the IntermIdia Project co- investigators supported by FAPESP (São Paulo Research Foundation) and conducts research on the cinema from Pernambuco related to Manguebeat phenomena.

Published
2018-07-14
Issue
Vol 5 No 2 (2018): Brazilian cinema in the neoliberal age
Section
Interviews