Immoral ward descargar esp movie#

In the wake of post-structuralism, disciplinary boundaries are seen to hide the fact that their methods consist of storytelling. Considering science a вЂњwar machine against allodoxyвЂќ, he foregrounds the aesthetic dimension involved: вЂњBut what is called allodoxy is, in reality, an aesthetic dissentвЂќ 5. 1-1, (.)ДЈ The French philosopher Jacques RanciГЁre claims that disciplines are not defined a priori by their methods but rather by вЂњconstituting an object as an object of thought and as the demonstration of a certain idea of knowledgeвЂќ 4. 8 RanciГЁre, Jacques, вЂњThinking between disciplines? An aesthetics of knowledgeвЂќ, Parrhesia, vol.7 See Culler, Jonathan, On Deconstruction, London, Routledge, 1983.6 RanciГЁre, Jacques, The Politics of Aesthetics: The Distribution of the Sensible, translation Gabrie (.).4 RanciГЁre, Jacques, вЂњThinking between disciplines? An aesthetics of knowledgeвЂќ, Parrhesia, vol.In both cases seeing disorders stand in for the inability to cope with or envision societyвЂ™s flaws and inhumanity, within a patriarchal oligarchy or liberal capitalism.

Immoral ward descargar esp movie#

Whereas the protagonist in Ruy GuerraвЂ™s film suffers from paranoia and his blurred vision is translated into hazy shots of the spaces he wanders through, in MeirellesвЂ™ movie an entire city goes blind when infected by what is called the вЂњwhite diseaseвЂќ. What is more, there is a strong relationship between the city spaces and the charactersвЂ™ emotions and, subsequently, their psychological or physical health. In both cases the cities are at once unknown and recognizable, national and transnational. In Blindness, produced in 2008, Fernando Meirelles, on the other hand, edits a global megalopolis, filmed in Toronto, SГЈo Paulo, and Montevideo. Ruy GuerraвЂ™s Turbulence, produced in 2000, creates an Ibero-American city filmed in Havana, Lisbon and Rio de Janeiro. Inicio de pГЎginaДЎ The coproduction modes of two Brazilian films inspired their directors to situate their stories in urban spaces that are in fact assembled cities. O primeiro desenvolve um espaГ§o alegГіrico e heterogГЄneo para nГіs percebermos o quanto esta paisagem cultural Ibero-Americana Г© repressiva, o segundo permanece uma versГЈo atualizada mas convencional do antigo mito de Г‰dipo que nГЈo oferece um novo olhar ao esboГ§ar um retrato homogГЄneo de uma megalГіpoles ocidental. O objetivo deste artigo consiste em comparar os dois filmes e revelar as suas diferenГ§as: enquanto Estorvo Г© uma abordagem indisciplinar da visГЈo de um jovem descendente da elite oligГЎrquica, Ensaio Г© um filme disciplinar que lida com uma epidemia que afeta toda uma civilizaГ§ГЈo. A metГЎfora da perda da visГЈo вЂ“ que Г© ou comprometida ou perdida por completo вЂ“ revela a incapacidade de lidar com as falhas humanas nestes espaГ§os. AlГ©m disso, possuem um impacto grande sobre as emoГ§Гµes dos personagens. Em ambos os casos surgem cidades que sГЈo ao mesmo tempo conhecidas e irreconhecГveis, nacionais e transnacionais. As filmagens de Ensaio ocorreram em Toronto, SГЈo Paulo, Osasco e Montevideu. Estorvo constrГіi uma cidade a partir de filmagens em Havana, Lisboa e Rio de Janeiro. While the first film develops an allegorical and heterogeneous city space that aims to make us perceive a repressive (emotional) cultural landscape associated with the Ibero-American world, the second is rather an altered but conventional take on the ancient myth of Oedipus that does not offer new insights by means of the homogenous portrayal of a globalized Western megalopolis.Дuas coproduГ§Гµes brasileiras, Estorvo (2000) e Ensaio sobre a cegueira (2008), situaram, com base no seu modo de produГ§ГЈo, seus filmes em espaГ§os urbanos que sГЈo, de fato, collagens destas cidades. The aim of this article is to compare the two films, discuss their adaptation from renowned novels and reveal their differences: while Turbulence is an indisciplinary take on a young manвЂ™s vision obfuscated by the repressive paternalistic order he lives in, Blindness is a disciplinary approach towards the loss of sight of an entire civilization. In both cases losing (clear) sight is a metaphor for the inability of coping with societyвЂ™s inhumanity. What is more, they have a deep impact on their charactersвЂ™ emotions within these spaces. In both cases the cities are at once unnamed and recognizable, transnational and familiar. Filming for Blindness took place in Toronto, SГЈo Paulo, Osasco and Montevideo. Turbulence creates a location by drawing on footage filmed in Havana, Lisbon and Rio de Janeiro. Two Brazilian co-productions, Turbulence (2000) and Blindness (2008), have used their modes of production as a motive to situate their stories in urban spaces that are in fact assembled cities.