Publicação
Dream and yãkoana
| Resumo: | I will begin by addressing the magical dimension of the image, starting from the studies of Palaeolithic parietal art, establishing a dialogue with the cinematic images, understood as survivals of the ecstasy of the ritual crossing worlds. I start mainly from archaeological studies that understand parietal art as essentially shamanic. Secondly, I aim at putting the hypothesis of cinema as a ritual crossing of worlds into dialogue with the so-called "cinema of the forest", a formulation that established a relationship between the visions instigated by the hallucinogenic plant consumption and the overall experience of cinema. I problematize this utterance starting from Kopenawa's statement that cinema is a dream, as well as the conceptualization of image in The falling sky -much more complex and embracing movements that the "cinema of the forest" does not allow to glimpse. In a third moment, the shaman and the camera are approached as borderline vehicles passing between worlds, in conjunction with the notion of ciné-trance. In the final part of this paper, which is certainly more of a beginning than a conclusion, I introduce the conception of the cosmos as a cinematographer, pointing to a terrain where the reflection about the image, cinema, and the shamanic experience, in the time of dream or of yãkoana, can continue to be complexified. |
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| Autores principais: | Coelho, Salomé Lopes |
| Assunto: | Xamanismo Travessia Cinema Cinema and philosophy Amerindians Gesture |
| Ano: | 2022 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade Nova de Lisboa |
| Idioma: | inglês |
| Origem: | Repositório Institucional da UNL |
| Resumo: | I will begin by addressing the magical dimension of the image, starting from the studies of Palaeolithic parietal art, establishing a dialogue with the cinematic images, understood as survivals of the ecstasy of the ritual crossing worlds. I start mainly from archaeological studies that understand parietal art as essentially shamanic. Secondly, I aim at putting the hypothesis of cinema as a ritual crossing of worlds into dialogue with the so-called "cinema of the forest", a formulation that established a relationship between the visions instigated by the hallucinogenic plant consumption and the overall experience of cinema. I problematize this utterance starting from Kopenawa's statement that cinema is a dream, as well as the conceptualization of image in The falling sky -much more complex and embracing movements that the "cinema of the forest" does not allow to glimpse. In a third moment, the shaman and the camera are approached as borderline vehicles passing between worlds, in conjunction with the notion of ciné-trance. In the final part of this paper, which is certainly more of a beginning than a conclusion, I introduce the conception of the cosmos as a cinematographer, pointing to a terrain where the reflection about the image, cinema, and the shamanic experience, in the time of dream or of yãkoana, can continue to be complexified. |
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