This article examines part of the theoretical and artistic production that Arthur Omar created during the 1970s and 1980s. Beginning with general comments on his work, this texts locates his filmography in the Brazilian modern production scene and discusses his theory of “anti-documentary”, also verifying the affinities between this approach and the notion of “cinema of poetry”, by Pier Paolo Pasolini. At the end, it analyses Música Barroca Mineira , short movie from 1981, which adresses what Omar has called “baroque civilization” and demonstrates how a movie could incorporate in its own tessitura the characteristics of its object.
Arthur Omar; anti-documentary; Pier Paolo Pasolini; Música Barroca Mineira
