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Copyright of Sociedade e Estado is the property of Sociedade e Estado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on the short-film Gilete Azul, by Miriam Chnaiderman, the authors intend to study the question of authorship in the contemporary context. Elements found in the artwork of Nazareth Pacheco, presented by the film, allow to understand that the authorship-function cannot be understood as something evident, i.e., the author is a sort of subject in the discourse, as an effect of the discourse. Therefore, it is proposed that the author is always "hanging by a thread": either because its presence is not guaranteed a priori, or because it is the effect of a signi! cant chain. [ABSTRACT FROM AUTHOR]

The filmmaker Win Wenders, in the direction of False Movement (1975), as well as Alice in the Cities (1974) and In The Passing of Time (1976) completes a trilogy in which the representation of the German imaginary and identity appears to be filled with a violent nihilism as regards the notion of the possibility of a collective project, a precarious common-belonging within a determined political state and historical heritage, the decadence of the cinema as a language related to the ethic-esthetic of the past. This article proposes to be a critical reading of the identity representations in False Movement (Falsche Bewegung, 1975) and of how these are operated as reproducers of meanings to the memory, the myths and the histories of a determined imaginary geography. [ABSTRACT FROM AUTHOR]