Frames and Bodies—Notes on Three Films by Pedro Costa: Ossos, No Quarto da Vanda, Juventude em Marcha
2010; University of Chicago Press; Volume: 24; Linguagem: Português
10.1086/655929
ISSN2156-4914
Autores Tópico(s)Arts and Performance Studies
ResumoPrevious articleNext article No AccessArticleFrames and Bodies—Notes on Three Films by Pedro Costa: Ossos, No Quarto da Vanda, Juventude em MarchaJean-Louis ComolliJean-Louis ComolliIn a close analysis of the role of the frame in film, Jean-Louis Comolli highlights how Pedro Costa's Fontainhas trilogy makes the invisible film frame visible: a political gesture, a response to the confusion of the world with its spectacle. Search for more articles by this author In a close analysis of the role of the frame in film, Jean-Louis Comolli highlights how Pedro Costa's Fontainhas trilogy makes the invisible film frame visible: a political gesture, a response to the confusion of the world with its spectacle.PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Afterall Volume 24Summer 2010 Published by Central Saint Martins, University of the Arts London Article DOIhttps://doi.org/10.1086/655929 Views: 216Total views on this site Citations: 1Citations are reported from Crossref © 2010 by Central Saint Martins College of Art and Design, University of the Arts London. All rights reserved.PDF download Crossref reports the following articles citing this article:Anna White-Nockleby Textured Cuts: The Demolition Cinema of Pedro Costa and José Luis Guerín, Journal of Visual Culture 17, no.11 (Apr 2018): 117–138.https://doi.org/10.1177/1470412918767212
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