Lucia Nagib
Lúcia Nagib is Professor of Film at the University of Reading. She is the PI on the AHRC-FAPESP funded IntermIdia Project, www.reading.ac.uk/intermidia . Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Bloomsbury, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), A Retomada do Cinema Brasileiro: depoimentos de 90 cineastas dos anos 90 (Editora 34, 2002), Nascido das cinzas: autor e sujeito nos filmes de Oshima (Edusp, 1995), Em torno da nouvelle vague japonesa (Editora da Unicamp, 1993) and Werner Herzog: o cinema como realidade (EstaçãoLiberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, I.B. Tauris, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Mestre Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990).
less
InterestsView All (17)
Uploads
Papers by Lucia Nagib
the geidōmono genre, comprising films in which the protagonist is a professional in one of the Japanese traditional treatrical arts. Because kabuki and other similar forms are their own subject, the genre opens up for a self-reflexive discussion of the lengthy and arduous process of training a theatre actor has to go through, establishing, at the same time, a fascinating contrast with the film actor’s specific talent. Making room for some exquisite performances, The Story of the Late Chrysanthemums and Floating Weeds invite the spectator to appreciate the inner workings of theatre through a constant focus on the backstage that reveals the tyranny inherent in kabuki training, which in turn reflects the film director’s own
autocratic behaviour. Thus, theatre and cinema find themselves suffused with the reality not only of the characters on stage, but by that of the actors’ lives themselves.