2,530 research outputs found
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Yaaba, cinefilia e realismo sem fronteiras
Graças a Yaaba (Idrissa OuĂ©draogo, 1989) o povo mossi, de lĂngua morĂ©, de Burkina Faso, ganhou expressĂŁo audiovisual e fĂsica sem precedentes ou rivais. Desde as primeiras imagens, mostrando os protagonistas infantis Nopoko e Bila correndo na paisagem vasta e ocre do Sahel, nĂŁo resta dĂșvida, de que Yaaba Ă© um filme internacional, que recicla com criatividade tropos universais num ambiente nunca antes filmado com tanto realismo. OuĂ©draogo aponta como fonte da histĂłria, escrita tambĂ©m por ele, a literatura oral de sua regiĂŁo. Em que pese essa origem local, o argumento desenvolvido Ă© claramente produto de um cinĂ©filo que se deixou inspirar amplamente por um dos filmes fundadores do cinema realista, Pather Panchali (Satyajit Ray, 1955). O que essa intertextualidade demonstra nĂŁo Ă© a falta de originalidade de OuĂ©draogo, mas o modo pelo qual realismo e tropos universais se irmanam quando se trata de explorar um novo veio cinematogrĂĄfico
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Antropofagia e intermidialidade: o caso de como era gostoso o meu francĂȘs
Obra maior, mas pouco estudada, do movimento tropicalista do final dos anos 1960, Como era gostoso o meu francĂȘs (Nelson Pereira dos Santos, 1970-72) recicla os ideais antropofĂĄgicos do modernismo brasileiro dos anos 1920, cuja base se encontra na literatura europeia colonial. O enredo aparentemente linear do filme versa sobre um francĂȘs devorado por Ăndios tupis no sĂ©culo XVI, ao estilo do relato autobiogrĂĄfico do aventureiro Hans Staden que teria escapado por pouco de destino semelhante em viagem ao Brasil. Mas a tessitura do filme Ă© na verdade uma colagem de materiais diversos no melhor estilo tropicalista, incluindo nĂŁo apenas citaçÔes do texto de Staden mas tambĂ©m os desenhos que ilustram a edição de 1557 de seu livro, alĂ©m de referĂȘncias aos escritos de Jean de LĂ©ry, AndrĂ© Thevet, Nicolas de Villegagnon, JosĂ© de Anchieta, Manoel da NĂłbrega, e a poemas e receitas culinĂĄrias do sĂ©culo XVI. Neste texto, sugiro que a ausĂȘncia de hierarquia entre esses materiais, alinhavados por um hibridismo de mĂdias, lĂnguas e culturas europeias e indĂgenas, confere ao filme um valor polĂtico que transcende o derrotismo reinante na esquerda brasileira naquele momento de auge da ditadura militar. Ao lado de outras obras modernistas associadas ao tropicalismo, Como era gostoso o meu francĂȘs reivindica para o cinema e a arte de seu tempo o direito de pertencer a um mundo multicultural para alĂ©m dos limites da nação brasileira, provisoriamente em poder de mĂŁos erradas
House Prices Prediction Using Statistics with Machine Learning
After the housing crisis in 2009 that affected the global economy and the bubble that burst, researchers began to focus on how to estimate house prices. In the United States, for instance, they adopted the hedonic price index (HPI) method in estimating house prices. After Ames house pricing dataset was released, which contains houses data from 2006 to 2010, and detailed features that help in studying the estimation of house prices. In this paper, we suggest that House prices are determined by many features such as area, utilities, house style, location, age, grade living area, number of bedrooms, garage, and so on. Statistical methods were applied with two models which are multiple and stepwise linear regression, also, two machine learning algorithms which are LASSO and XGBoost regression. The accuracy of prediction was evaluated by the root mean square error (RMSE). XGBoost with 25 features, 0.973 R2, and 0.027 RMSE is the Best model. LASSO has helped in feature selection for XGBoost
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Bernardet visto de longe
A crĂtica cinematogrĂĄfica de Jean-Claude Bernardet certamente mereceria um lugar de destaque no cenĂĄrio internacional. Mas, pelo menos no mundo anglĂłfono, isto nĂŁo aconteceu â ainda. Com exceção de alguns artigos e capĂtulos em coletĂąneas, sua vasta obra e contribuição inestimĂĄvel para o cinema no Brasil e, por que nĂŁo dizer, mundial continua na maior parte ignorada. A razĂŁo principal desse desconhecimento reside no perfil eminentemente francĂłfono de Bernardet, francĂȘs de origem e cuja obra deixa patente a interlocução com o pensamento francĂȘs. Mas tivesse escrito em francĂȘs, suas ideias por certo teriam encontrado repercussĂŁo junto com a avalanche de literatura sobre cinema que os paĂses anglĂłfonos importaram da França, desde Bazin atĂ© a geração dos crĂticos/cineastas dos Cahiers du CinĂ©ma que Ă© tambĂ©m a sua. NĂŁo esqueçamos que como Truffaut, Godard, Chabrol e o resto dos Jovens Turcos Bernardet jamais separou a crĂtica da prĂĄtica, tendo atuado em todas as ĂĄreas do fazer cinematogrĂĄfico. Mas acontece que ele escreve em portuguĂȘs, colocando uma barreira a mais Ă sua divulgação fora do contexto francĂȘs
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Back to the margins in search of the core: foreign land's geography of exclusion
The crisis of the national project in the early 1990s, caused by a short-lived but disastrous government, led Brazilian art cinema, for the first time, to look at itself as periphery and re-approach the old colonial centre, Portugal. Terra estrangeira/Foreign Land (Walter Salles & Daniela Thomas, Brazil/Portugal, 1995), a film about Brazilian exiles in Portugal, is the best illustration of this perspective shift aimed at providing a new sense of Brazilâs scale and position within a global context. Shot mainly on location in SĂŁo Paulo, Lisbon and Cape Verde, it promotes the encounter of Lusophone peoples who find a common ground in their marginal situation. Even Portugal is defined by its location at the edge of Europe and by beliefs such as Sebastianism, whose origins go back to the time when the country was dominated by Spain. As a result, notions of âcoreâ or âcentreâ are devolved to the realm of myth. The filmâs carefully crafted dialogues combine Brazilian, Portuguese and Creole linguistic peculiarities into a common dialect of exclusion, while language puns trigger visual rhymes which refer back to the Cinema Novo (the Brazilian New Wave) repertoire and restage the imaginary of the discovery turned into unfulfilled utopia. The main characters also acquire historical resonances, as they are depicted as descendants of Iberian conquistadors turned into smugglers of precious stones in the present. Their activities define a circuit of international exchange which resonates with that of globalized cinema, a realm in which Foreign Land, made up of citations and homage to other cinemas, tries to retrieve a sense of belonging
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Mysteries of Lisbon and intermedial history-telling
Mysteries of Lisbon is the most overtly commercial of the RaĂșl Ruizâs outputs, which remain otherwise the privilege of a niche of select aficionados. Granted, Mysteries of Lisbon is the lengthiest film Ruiz has ever made, consisting of a monumental adaptation (4h26min as a film, 6h as a TV series) of Camilo Castelo Brancoâs eponymous novel in three volumes, in which interconnected narrative strands multiply wide and deep across generations. However, all of these strands in the TV series and most of them in the film come to a logical resolution, the whole wrapping up with the romantic novelâs traditional closure, i.e. the death of the hero and first-person narrator. Rather than the result of an open-ended work or âopera apertaâ as Umberto Eco (1989) had defined the modern, porous narrative following oneâs life path and inconstancies, then, the protracted length in Mysteries of Lisbon is the result of the chosen genre, the feuilleton, both as adopted in Castelo Brancoâs nineteenth-century novel and in its contemporary spin-off, the televisual soap opera. However, the film displays a myriad intermedial procedures, which on the one hand contribute to move the various plots and subplots forward to a coherent conclusion, but on the other serve as distractions, even disruptive elements, preventing a sense of progression and calling attention to the reality of the medium and. My hypothesis here will be that these self-reflexive procedures, questioning the medium and its hierarchic position among other media, also bring storytelling close to reality and history-telling by creating holes in the narrative mesh through which the spectator can catch a glimpse of the incompleteness and incoherence of real life. In this context, the filmâs constant intermedial morphings become âpassagesâ to the real, through which drawings, paintings, sculptures and murals change into live action and vice versa, silently subverting the idea that the story could have one single end, or an end at all
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Regurgitated bodies: presenting and representing trauma in 'The Act of Killing'
Focusing on The Act of Killing, this chapter examines how an âethics of realismâ operates on three key cinematic arenas: genre, authorship and spectatorship. As far as genre is concerned, the filmâs realist commitment emerges from where it is least expected, namely from Hollywood genres, such as the musical, the film noir and the western, which are used as documentary, that is to say, as a fantasy realm where perpetrators can confess to their crimes without restraints or fear of punishment, but which nonetheless retains the evidentiary weight of the audiovisual medium. Authorship, in turn, translates as Oppenheimerâs unmistakable auteur signature through his role of self-confessed âinfiltratorâ who disguises as a sympathiser of the criminals in order to gain first-hand access to the full picture of their acts. One of them, the protagonist Anwar Congo, is clearly affected by post-traumatic stress disorder, and his repetitive reliving of his killings is made to flare up in front of the camera so as to bring back the dead to the present time in their material reality, through his own body, including a harrowing scene of the actorâs unpredictable and uncontrollable retching as he re-enacts the killing of his victims through strangulation. Finally, in the realm of spectatorship, the usual process of illusionistic identification on the part of the spectator is turned onto its head by means of disguising these criminals as amateur filmmakers, led to shoot, act within, and then watch their own film within the film so as to force them to experience beyond any illusion the suffering they had caused
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Realist cinema as world cinema
The idea that ârealismâ is the common denominator across the vast range of productions normally labelled as âworld cinemaâ is widespread and seemly uncontroversial. Leaving aside oppositional binaries that define world cinema as the other of Hollywood or of classical cinema, this chapter will test the realist premise by locating it in the mode of production. It will define this mode as an ethics that engages filmmakers, at cinemaâs creative peaks, with the physical and historical environment, reflecting a commitment to its political improvement. The chapter will conclude by proposing ârealistâ cinema as a more accurate term than âworldâ or âmodernâ cinema to signify this ethics
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Non-cinema: the location of politics in film
Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an âuncinematicâ element in the negation of movement in modern cinema, âwhich constitutes its artistic characterâ. Similarly, Lyotard defended an âacinemaâ, which rather than selecting and excluding movements through editing, accepts what is âfortuitous, dirty, confused, unclear, poorly framed, overexposedâ. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an âimpure circulationâ that incorporates the other arts. Resonating with Bazin and his defence of âimpure cinemaâ, that is, of cinemaâs interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film (In film nist, 2011), whose anti-cinema stance in announced in its own title; and The Mirror (Aineh, 1997), another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchiâs deconstruction of cinematic acting in his exploration of the geidomono genre (films about theatre actors) in The Story of the Last Chrysanthemums (Zangigku monogatari, 1939), and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing (Joshua Oppenheimer et al., 2012)
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