Intense Images, Now. A precipitated Reading Against the Mechanics of Disenchantment

Authors

  • Lucas Morgan Disalvo Facultad de Bellas Artes. Universidad Nacional de La Plata

DOI:

https://doi.org/10.24215/2525085Xe005

Keywords:

Essay film, image, politics, history, utopia

Abstract

I am interested in disassembling, in a critical way, the political and aesthetic artifact that Salles creates in No Intenso Agora (In the Intense Now, 2017) from the archive work, in which an operation of a melancholic closing of the event as well an operation of distancing and deintensification of images of political processes are put into play. The final objective is to think about a different type of approach to the historical archive from a reenchantment perspective, in which the organization of the images complies less with a nostalgic-disenchanted principle on history than a logic of resonances and reactivations capable of doing justice to all levels of intensity that any present time carries.

References

Ahmed, S. (2019). La Promesa de la Felicidad. Una Crítica Cultural al Imperativo de la Alegría. Ciudad Autónoma de Buenos Aires, Argentina: Caja Negra.

Benjamin, W. (1931). Melancolía de izquierda. Sobre el nuevo libro de poemas de Erich Kästner [Trad. García, L. I.]. Recuperado de https://www.academia.edu/7642464/Walter_Benjamin_1931_Melancol%C3%ADa_de_izquierdas

Benjamin, W. (1998). El Surrealismo. En R. Tiedemann y H. Schweppenauser (Eds.). Walter Benjamin, Obras, libro II/vol. Madrid, España: Abada Editores.

Cortés, D.; García, E.; Fernández Savater, A. (18 de diciembre de 2010). Las imágenes son un espacio de lucha. Público. Recuperado de https://blogs.publico.es/fueradelugar/183/las-imagenes-son-unespacio-de-lucha

Derrida, J. (1997). Mal de Archivo. Una Impresión Freudiana. Madrid, España: Trotta.

Fisher, M. (2018). Los Fantasmas de Mi Vida. Ciudad Autónoma de Buenos Aires, Argentina: Caja Negra.

Freeman, E. (2010). Time Binds. Queer Temporalities, Queer Histories [El Tiempo Nos Ata. Temporalidades Queer, Historias Queer]. Durham, Estados Unidos: Duke University Press.

Game, J. (2009). Critique de la critique du «spectacle» [Crítica de la crítica del «espectáculo»]. Revue internationale des livres et des idées, (12).

Sakolsky, R. (2013). Creating Anarchy [Creando Anarquía]. Ferndale, Estados Unidos: Fifth Estate Books.

Salles, J. M. (Director). (2017). No Intenso Agora [Película]. Brasil: Videofilmes Produçoes Artisticas Ltda.

Traverso, E. (2018). Melancolía de Izquierda. Marxismo, Historia, Memoria. Ciudad Autónoma de Buenos Aires, Argentina: Fondo de Cultura Económica.

Vespa, M. (22 de septiembre de 2017). Geometría de la Pérdida. La Agenda Revista. Recuperado de https://laagenda.buenosaires.gob.ar/post/165608177030/geometr%C3%ADa-de-la-p%C3%A9rdida

Whybrow, N. (2005). Street Scenes: Brecht, Benjamin and Berlin [Escenas de la Calle: Brecht, Benjamin y Berlín]. Bristol, Reino Unido: Intellect Books.

Downloads

Published

2019-08-17

How to Cite

Disalvo, L. M. (2019). Intense Images, Now. A precipitated Reading Against the Mechanics of Disenchantment. Arkadin, (8), e005. https://doi.org/10.24215/2525085Xe005

Issue

No. 8 (2019): Arkadin 8

Section

Tema central

License

The acceptance of the manuscript by the magazine means the non-exclusive cession of the property rights of the authors in favour of the editor, who allows the reuse, after publication (post print), under a license Attribution-NonCommercial-NoDerivatives 4.0 International.

According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.
The cession of non-exclusive rights means that after the publication (post print) in Arkadin the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine. Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the Universidad Nacional de La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.
Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.