Titlebook: Space and Subjectivity in Contemporary Brazilian Cinema; Antônio Márcio da Silva,Mariana Cunha Book 2017 The Editor(s) (if applicable) and

CLOUT

: Subjective Perception of an Urban Utopia Through the Lens of Love and Losss and Felipe Hirsch‚ 2009). Although set in Brasília, the film chooses to conceal spaces that would make the city recognizable, with its monuments and public landmarks, opting instead to depict barren landscapes and empty urban places that intensify feelings of detachment and displacement. The chapt

landmark

NOCT

小母马

公理

VERT

‘Casa Grande & Senzala’: Domestic Space and Class Conflict in , and ,Lula and Dilma:./. (Fellipe Barbosa, 2014) and ./. (Anna Muylaert, 2015). Both films portray the social dynamics in upper-middle-class households, where cleaning maids live in the back rooms, which comments on the colonial past of the slave owning families. The chapter contends that the films make u

健壮

: Aural Space, Surveillance, and Class Strugglelho, 2012). It investigates the film’s aural space as an element that conveys fear and paranoia, while also revealing class antagonism. The chapter contends that sound can suspend the narrative and deterritorialize the image, thus shifting the viewer’s attention to the off-screen, which often sugges

Keshan-disease

小歌剧

Book 2017e known as the .retomada., but especially in the cinema of the new millennium. The chapters take spatiality as a powerful tool that can reveal aesthetic, political, social, and historical meanings of the cinematographic image instead of considering space as just a formal element of a film. From the

epidermis

Tikmũ’ũn’s Caterpillar-Cinema: Off-Screen Space and Cosmopolitics in Amerindian Filmreen spaces, and proposes that these films verge on what could be defined as a “shamanic critique of the political economy of the image”, thereby revealing the inevitable relationship of the films to the cosmology of the Tikmũ’ũn.