{"id":3921,"date":"2021-09-09T14:52:32","date_gmt":"2021-09-09T17:52:32","guid":{"rendered":"https:\/\/blogfca.pucminas.br\/ccm\/?p=3921"},"modified":"2023-04-04T16:31:13","modified_gmt":"2023-04-04T19:31:13","slug":"a-contemplacao-na-nouvelle-vague-taiwanesa","status":"publish","type":"post","link":"https:\/\/blogfca.pucminas.br\/ccm\/a-contemplacao-na-nouvelle-vague-taiwanesa\/","title":{"rendered":"A contempla\u00e7\u00e3o na nouvelle vague taiwanesa"},"content":{"rendered":"\n

Por Gustavo Fernandes.<\/p>\n\n\n\n

Nos anos 1980, o cinema de Taiwan viu a ascens\u00e3o de uma nova modalidade cinematogr\u00e1fica que logo passaria a ter consider\u00e1vel repercuss\u00e3o internacional. Na contram\u00e3o dos filmes produzidos na ilha ao longo das d\u00e9cadas anteriores, que geralmente eram filmes de a\u00e7\u00e3o, a nova onda do cinema taiwan\u00eas foi marcada pela ascens\u00e3o do realismo e da contempla\u00e7\u00e3o do cotidiano, viabilizando tamb\u00e9m a experimenta\u00e7\u00e3o dentro da maleabilidade dos dramas mais comedidos que passariam a ser realizados ali. <\/p>\n\n\n\n

O marco inicial do movimento de revitaliza\u00e7\u00e3o identit\u00e1ria do cinema taiwan\u00eas \u00e9 considerado, por muitos, como sendo o filme In Our Time<\/em> (1982), obra coletiva realizada por Edward Yang, Yi Chang, Ko I-Chen e Tao Te-Chen \u2013 alguns dos nomes, inclusive, passariam a ter grande relev\u00e2ncia para a continuidade da nouvelle vague taiwanesa. O filme prop\u00f5e, de modo geral, reflex\u00f5es sobre o amadurecimento inevit\u00e1vel frente a passagem do tempo. <\/p>\n\n\n\n

\"\"
Foto\/Divulga\u00e7\u00e3o: Warner Bros. Pictures<\/figcaption><\/figure><\/div>\n\n\n\n

Em Hist\u00f3ria de Taipei<\/em> (1986), Edward Yang narra delicadamente os anseios de uma mulher de Taipei sobre seu futuro e sobre as possibilidades advindas dele. Dissecando as rela\u00e7\u00f5es pessoais da personagem e suas expectativas para si, o diretor realiza pacientemente a exposi\u00e7\u00e3o emocional de seus personagens em meio \u00e0s mais diversas possibilidades de vida dentro e fora da capital da ilha, lugar repleto de frieza e indiferen\u00e7a. Passado e futuro se relacionam com estranhamento no longa-metragem, viabilizando, acima de tudo, o surgimento inevit\u00e1vel da desola\u00e7\u00e3o caracter\u00edstica do mundo globalizado.<\/p>\n\n\n\n

\"\"
Foto\/Divulga\u00e7\u00e3o: Evergreen Film Company<\/figcaption><\/figure>\n\n\n\n

A solid\u00e3o e a incomunicabilidade dialogam com os processos de autodescoberta em Vive L\u2019Amour<\/em> (1994), longa-metragem do cineasta malaio Tsai Ming-Liang realizado em Taiwan \u2013 assim como boa parte de sua obra. O filme narra o cotidiano de tr\u00eas pessoas distintas que compartilham casualmente um apartamento em Taipei. A obra exp\u00f5e as fragilidades de seus personagens de forma delicada e vagarosa, imergindo pacientemente o p\u00fablico nos complexos universos interiores de cada integrante do elenco. Marco da segunda fase da nouvelle vague taiwanesa, o filme faz uso consideravelmente enxuto dos instrumentos de linguagem cinematogr\u00e1fica: s\u00e3o poucos di\u00e1logos e longos planos observacionais. Tais tra\u00e7os viriam a ser marca registrada da extensa obra de Tsai Ming-Liang, assim como a \u00eanfase na complexidade emocional de seus personagens.<\/p>\n\n\n\n

\"\"
Foto\/Divulga\u00e7\u00e3o: Central Motion Pictures<\/figcaption><\/figure>\n\n\n\n

Em Millenium Mambo<\/em> (2001), Hou Hsiao-Hsien reflete sobre a chegada do novo mil\u00eanio e sobre as inseguran\u00e7as diante do futuro vindouro. N\u00e3o apenas sobre o futuro em si, mas principalmente sobre a finitude do presente e sobre a brevidade dos momentos. Trata-se de uma obra sobre o que foi, mas que tamb\u00e9m sempre ser\u00e1. Ao t\u00e9rmino, o filme assume a forma de v\u00edvida lembran\u00e7a, assim como sua pr\u00f3pria configura\u00e7\u00e3o natural para a protagonista \u2013 respons\u00e1vel por narrar o filme dez anos ap\u00f3s os acontecimentos retratados.<\/p>\n\n\n\n

\"\"
Foto\/Divulga\u00e7\u00e3o: 3H Productions<\/figcaption><\/figure>\n\n\n\n

Em Adeus, Dragon Inn<\/em> (2004), Tsai Ming-Liang retoma a reflex\u00e3o sobre a rela\u00e7\u00e3o dos seres humanos com os espa\u00e7os que habitam momentaneamente. Agora, no entanto, o cen\u00e1rio dissecado pelo cineasta \u00e9 um antigo cinema de Taipei. Cinema que \u00e9 abrigo de muita coisa: de pessoas que buscam escapismo, de pessoas que n\u00e3o sabem o que buscam e de pessoas que n\u00e3o buscam nada em espec\u00edfico. Trata-se de uma poderosa reflex\u00e3o sobre a transitoriedade do ser humano e das marcas deixadas por ele no mundo: nas pessoas e nos espa\u00e7os.<\/p>\n\n\n\n

\"\"
Foto\/Divulga\u00e7\u00e3o: Homegreen Films<\/figcaption><\/figure>\n\n\n\n

Abordagens cinematogr\u00e1ficas distintas permeiam a nouvelle vague taiwanesa, extenso movimento art\u00edstico que conferiu identidade e frescor \u00e0s produ\u00e7\u00f5es da ilha. Acima de tudo, um tra\u00e7o caracter\u00edstico compartilhado pelas diferentes produ\u00e7\u00f5es \u00e9 a contempla\u00e7\u00e3o: de si, do outro ou mesmo dos mais diversos espa\u00e7os que comp\u00f5em a ilha. \u00c9 poss\u00edvel dizer que, em contexto geral, o movimento refor\u00e7ou a perspectiva cinematogr\u00e1fica reflexiva taiwanesa. Por meio da introspec\u00e7\u00e3o, as diversas obras dialogam, principalmente, sobre os anseios frente a inevit\u00e1vel passagem do tempo.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Gustavo Fernandes \u00e9 monitor do CCM e graduando em Cinema e Audiovisual pela PUC Minas.<\/p>\n","protected":false},"excerpt":{"rendered":"

Por Gustavo Fernandes. Nos anos 1980, o cinema de Taiwan viu a ascens\u00e3o de uma nova modalidade cinematogr\u00e1fica que logo passaria a ter consider\u00e1vel repercuss\u00e3o internacional. Na contram\u00e3o dos filmes produzidos na ilha ao longo das d\u00e9cadas anteriores, que geralmente eram filmes de a\u00e7\u00e3o, a nova onda do cinema taiwan\u00eas foi marcada pela ascens\u00e3o do…<\/p>\n","protected":false},"author":16,"featured_media":3925,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[22,30],"class_list":["post-3921","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ensaios","tag-cinema","tag-critica-midiatica"],"yoast_head":"\nA contempla\u00e7\u00e3o na nouvelle vague taiwanesa - Centro de Cr\u00edtica Da M\u00eddia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogfca.pucminas.br\/ccm\/a-contemplacao-na-nouvelle-vague-taiwanesa\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A contempla\u00e7\u00e3o na nouvelle vague taiwanesa - Centro de Cr\u00edtica Da M\u00eddia\" \/>\n<meta property=\"og:description\" content=\"Por Gustavo Fernandes. 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