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Denilson Lopes graduated in Communication and Journalism from the University of Brasília (1989), and holds a master’s in Literature from the University of Brasília (1992) and a doctorate in Sociology from the University of Brasília (1997). He was a professor at the College of Communication at the University of Brasília from 1997 to 2007, where he coordinated the Postgraduate Program. He was the president of the Brazilian Association of Homoculture Studies (ABEH), President of the Brazilian Society for Cinema and Audiovisual Studies (SOCINE), and Superintendent of Cultural Diffusion at the Science and Culture Forum of the Federal University of Rio de Janeiro. Currently he is an associate professor at the School of Communication at the Federal University of Rio de Janeiro, and a scientific productivity fellow at the National Council for Research (CNPq). He was a visiting researcher at the City University of New York, New York University, and the University of Montreal. He also occupied the Rui Barbosa Chair on Brazilian Studies at the University of Leiden in the Netherlands. He has been giving lectures and courses at various universities in Brazil and abroad. He has experience in the area of Communication, with an emphasis in Communication Aesthetics, working mainly on the following themes: communication aesthetics, contemporary cinema, gender studies (gay and transgender studies), contemporary culture and art criticism, cultural studies, and comparative literature. He is the author of Afetos, Experiências e Encontros com Filmes Brasileiros Contemporâneos (2016), No Coração do Mundo: Paisagens Transculturais (2012), A Delicadeza: Estética, Experiência e Paisagens (2007), O Homem que Amava Rapazes e Outros Ensaios (2002) and Nós os Mortos: Melancolia e Neo-Barroco (1999), and co-editor of Imagem e Diversidade Sexual (2004), Cinema, Globalização e Interculturalidade (2010), together with Andrea França; Silviano Santiago y los Estudios Latinoamericanos (2015), together with Lucia Costigan, and the editor of O Cinema dos Anos 90 (2005). At the moment, he is starting the research "Dândis, Decadentes e Modernos", in which he tries to study a genealogy that goes from Mario Peixoto, Lucio Cardoso to some Cinema Novo films that seek to establish a "other Modernism" (Paulo Venâncio) Anthropophagic-tropicalist lineage and regionalist versions. This other lineage marked by the anachronistic survival of Decadenism and Dandism, as well as the desire to articulate art and life in an archeology of sensations, in search of constellations that can also be visualized in a cross-cultural and comparative context, combining cultural history, sociology of the intellectuals and queer studies. |
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LOPES, Denilson. Afetos: Estudos Queer e Artifício na América Latina. E-Compós (Brasília), v. 19, p. 1-16, 2016.
LOPES, Denilson. A Poesia da Luz de Clarissa Campolina. REBECA. Revista Brasileira de Estudos de Cinema e Audiovisual, v. 3, p. 1-14, 2014.
LOPES, Denilson. O Alumbramento e o mundo ao redor: o cosmopolitismo nos pequenos gestos. Grumo (Buenos Aires), v. 10, p. 90-95, 2013.
LOPES, Denilson. Afetos Pictóricos ou em Direção a Transeunte de Eryk Rocha. Revista FAMECOS (Impresso), v. 20, p. 255-274, 2013.
LOPES, Denilson. O Alumbramento e o fracasso: uma leitura de Estrada para Ythaca. Galáxia (PUCSP), v. 13, p. 72-83, 2013.
LOPES, Denilson. A Estética do Neutro em Ozu e sua Atualidade. Contracampo (UFF), v. 22, p. 3-15, 2011.
LOPES, Denilson. Cinema Mundial, Cinema Global. E-Compós (Brasília), v. 12, p. 16, 2010.
LOPES, Denilson. Silviano Santiago, Estudos Culturais e Estudos LGBTS no Brasil. Revista Iberoamericana, Pittsburgh, v. LXXIV, p.943-957, 2008.
LOPES, Denilson. Entre o Mar e o Sertão: O Olhar Intruso. Devires (Belo Horizonte), v. 4, p. 122-135, 2007. |
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Affections, relationships and meetings
Description How can we reconnect the relationship between the arts, thinking of a staging of affections, from the face, privileged by Gilles Deleuze, to the landscapes and objects? What can they tell us about staging? We will try to make a reading of faces, landscapes and objects in the horizon of the post-human that translates into a scene in which the human figure should not be seen as central, having as priority its aesthetic profitability from the still life, the portrait and the painting From landscapes to the experience of a post-dramatic scene in order to understand the recent productions of contemporary Brazilian cinema, always in dialogue with the wider international context. Secondly, a discussion of Gilles Deleuze and Félix Guattari"s discussion of affection is necessary with the discussion of the affection of gender studies, in particular by LGBT studies and queer theory, which help to understand The relations and meetings as constitutive elements of dramaturgy as well as a proposal not only ethical and ethical, thinking art as a way of life and not only a formal construction. From which emerges the need to think about the relationship and the encounter, terms that we are still mapping a bibliography, different from the bibliography about the affection with which we are more familiar, as can be evidenced in the bibliography. Our hypothesis is that to understand films made in Brazil in the last five years, betting on affection translates into a search for scenarios, as we have tried to do through the common that translated into aesthetics defined by rarefaction, containment and dedramatization. Now the path widens beyond the ordinary. If it is possible for the work of art to be thought of as affection, it destabilizes and redirects the narrative form, also without confusing the search for affections and narratives that emerge tensed by an aesthetic of excess, present in a hegemonic cinematic tradition, The serials of the nineteenth century, passing through the classic cinema and present until today in television soap operas. In the course of the project, several seminars related to the theme were held, among them the following. For Aesthetics of the 21st Century and Affects, Emotions and Feelings. These seminars implied broadening of dialogues and networks beyond those already existing in the meetings of Compós, Socine and Lasa (Latin American Studies Association). |
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