- Text: Miguel Dinis de Oliveira
There is a close, promiscuous relationship between cinema and literature, as we can see or read in Duras, Antonioni, Pasolini or in Bazin’s defense of an impure cinema, of the spiritual promiscuity of failed acts.
Every narrative technology fragments matter, promoting other investments and a different subjectivity, which is to say, other bodies and other (little!) deaths, that can be found in Deleuze, Rouch, Morin or Schaffer.
We can say that just as literature produces cinema, cinema produces literature (which we can find in the poetry of Herberto Hélder or António Reis as in Bioy Casares’ narrative; in Bergman and Pintilie – between the stage and screen –, in Pina Bausch’s dance or in Cindy Sherman’s photography).
The bookshop that we propose, through this curation, places cinema not only within the expanded field of art but also at the Olhão Fruit and Vegetable Market, that is, amongst other cultures, at bottom in another montage of attractions, as Eisenstein wanted.
We conclude by pointing to a new materiality, to the minimalism of everyday experience, to what some call “global art cinema” (Bordwell and Thompson) which goes as far as to dispense with introduction, transition or conclusion.