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Starting from a movement of attraction and repulsion between the ideas of Mário de Andrade and Walter Benjamin on cinema, in this paper are presented simultaneities in the reflection of both authors on the new art. With this aim, it develops a reflected reading of Mario's essays of the 1920s, contrasting with the Benjaminian discussion of the following decade. Although conceptually about Art as Photography the author are not in agreement each other --about a new aesthetic sensitivity that is established in modernity where the image begins to place itself as an aesthetic foundation even in non-cinematographic--, Benjamin's analytical hypothesis may sustain a reading of a novel like Macunaíma, by Mario. Then, the paper discusses the tension in the Brazilian essayist and novelist Oeuvre, paying attention to how Art as Photography stands as power in its own aesthetics. [ABSTRACT FROM AUTHOR]

This paper aims to present the originality of Lélia González's thought and her main contributions to Brazilian Black feminism. Intersectionality is emphasized. As first Black intellectual to investigate systematically the black intersectional feminism, González analyzed the sociopolitical phenomena that involved the Black community through an approach that contemplated gender, race, class, territorialities, etc. The paper also discusses the privileged locus of women's resistance today, the guarantee of civil rights and its consequences for the construction of an antiracist society. [ABSTRACT FROM AUTHOR]

Nowadays we are increasingly subordinated by the excesses of stimuli that result in the (de)formation of our senses, including during our free time. In this article, we questioned the production of the sight and its role in the tourism context. Based on the follow-up of 4 excursions in the Southern Region of Brazil and 15 interviews, we observed that previous images and the constant orientation of the tourist's sight determine an experience devoid of perceptibility, requiring photographic record as a resource for memory. We conclude that vision stimuli and the act of looking consist in entertainment, which results in the strengthening of the process of sensory alienation. [ABSTRACT FROM AUTHOR]

Cinema and sport usually met each other. They are phenomena that have settled in the nineteenth century, linked to the set of changes, which marked that time. In this paper, we intend to discuss representations of modernity in one of the occasions in that there was a dialogue between both languages, in the work of one of the greatest exponents of the cinema: Charles Chaplin. We analyze eight short films produced between 1914 and 1921. Through humor and in function of the impeccable domain scenic and dramaturgical of the actor/director, these films criticize the "modern times", seeing ironically some of his most remarkable dimensions. Such films also show the importance of sports as an expression of modern experience, as well as its ability to dramatize the social transitions underway. [ABSTRACT FROM AUTHOR]