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Notes
1. Marks, The Skin of Film, p. 46.
2. Bouquet, “Plan Contre Flux [Shot Against Flow],” Cahiérs du Cinema, p. 127.
3. Foster, The Return of Real: The Avant-Garde at the End of the Century.
4. Lopes, A Delicadeza: Estética, Experiência e Paisagen, p. 87.
5. Monassa, “Cinema-Mundo,” Contracampo, p. 1 (para. 2).
6. A minimalistic style of music developed through experimentation by musician LaMonte Young (solo artist and member of the band The Dream Syndicate) in the 1960s. In the decades that followed, it was hybridized with styles as diverse as ambient music (through a partnership between Brian Eno and Robert Fripp and the duo Stars of the Lid), rock (especially in the shoegazing genre of the early 1990s and on the album Metal Machine Music, released in 1975 by Lou Reed), electronic music (Kraftwerk's first album and several tracks by Aphex Twin and Coil) and even metal (e.g., Sunn O and Boris).
7. Gardnier, Monassa, Oliveira Jr. and Furtado, “Cinema Contemporâneo em Debate: O Drone Cinema, as Novas Imagens e Os Novos Comediantes,” in Contracampo, p. 1 (para. 25).
8. Vieira da Silva, Entre a Superfície e a Profundidade: A Câmera-Corpo e a Estética do Fluxo no Cinema Asiático Contemporâneo. Study presented at the XXXII Brazilian Conference of Communication Sciences—Intercom, Curitiba, Brazil, p. 12.
9. Bazin, What is Cinema? 1, pp. 25–40.
10. Shaviro, The Cinematic Body.
11. Burkitt, “The Time and Space of Everyday Life,” in Cultural Studies.
12. Schøllhammer, “O Espetáculo e a Demanda do Real,” in Comunicação, Cultura e Consumo: A (Des)Cosntrução do Espetáculo Contemporâneo.
13. Foster, Return of Real.
14. Schøllhammer, “O Espetáculo e a Demanda do Real,” p. 219.
15. Ibid.
16. We are also nearly the “realism of the senses”, proposed by Tiago De Luca (Realism of the Senses in World Cinema), in his 2013 book dedicated to investigate the sensorial dimension in the movies of Carlos Reygadas, Gus Van Sant, and Tsai Ming-Liang.
17. Sodré, As Estratégias Sensíveis: Mídia, Afeto e Política, p. 13.
18. Spinoza, Ethics, Part III, Definition III, Proposition XI.
19. Deleuze, and Guattari, A Thousand Plateaus: Capitalism and Schizophrenia; Artaud, Pour en Finir Avec le Jugement de Dieu; Spinoza's Ethics.
20. Deleuze, and Guattari, A Thousand Plateaus, p. 160.
21. Shaviro, Cinematic Body.
22. Ibid., p. 266.
23. Capistrano, À Pele da Película: Vias E Veias do Sensorialismo Cinematográfico, p. 14.
24. Marks, Skin of Film, p. 162.
25. Ibid., pp. 162–163.
26. Ibid., p. 163.
27. Barker, Tactile Eye, p. 32.
28. Although only some of the films analyzed in this study share this haptic visuality (which I believe is strictly restricted to the examples cited in this paragraph), I have opted to discuss hapticity within the set of characteristics that I associate with flow aesthetics to allow for some interesting digressions into the sensory immersion promoted by this genre of contemporary cinema.
29. Vieira da Silva, Entre a Superfície, p. 100.
30. Ibid., p. 2.
31. Delorme, “Le Lois d'Affection,” in Cahiérs du Cinema, p. 78.
32. Oliveira, Jr., “Do Maneirismo ao Mito de Proteu: 1980—2000,” in Primeiros Olhares, p. 29.
33. Foster, Return of Real.
34. Marques, “O Corpo Que Dança e o Corpo dos Filmes” [The Body that Dances and the Body of Films], in Contracampo.
35. Gil, Movimento Total: O Corpo e a Dança.
36. Marques, O Corpo Que Dança, pp. 2–3.
37. Bresson, Notes on the Cinematographer, pp. 14–15.
38. Shaviro, Cinematic Body, p. 1 (para. 7).
39. Bragança, “Filmar, Hoje, um Corpo (em Alguns Atos),” in Revista Cinética.
40. Marques, O Corpo Que Dança, p. 3.
41. Peixoto, Paisagens Urbanas.
42. Cauquelin, L'Invention du Paysage.
43. Lopes, A Delicadeza, p. 16.
44. Peixoto, Paisagens Urbanas, p. 233.
45. Ibid., p. 46.
46. Ibid., p. 271.
47. Ibid., p. 271.
48. Peixoto, Paisagens Urbanas, p. 271.
49. Cauquelin, L'Invention du Paysage, p. 5.
50. Appadurai, Modernity at Large: Cultural Dimensions of Globalization.
51. Lopes, A Delicadeza, p. 135.
52. Oliveira, Jr., A Mise-en-Scène no Cinema: Do Clássico ao Cinema de Fluxo.
53. Ibid., p. 32.
Additional information
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Erly Vieira
Erly Vieira Jr. lives and works in Brazil. He is an Assistant Professor at the Universidade Federal do Espírito Santo. He has a doctorate in Communications and Culture from the Universidade Federal do Rio de Janeiro, and he is currently working on a book that examines the relationship between film and sensoriality in contemporary world cinema.