ABSTRACT
The purpose of this article is to bring an analysis of the “film-limit” Mangue Bangue (1971), by Neville d’Almeida, having in mind his proximity to the contemporary issues and proposals of the filmmaker’s partner, the visual artist Hélio Oiticica, and highlighting the convergence of both artists in the experimentation with the film form in interface with different visual and audiovisual media. The article emphasizes the context of artistic partnerships which persisted clandestinely working with formal experimentation, in order to amplify the sensitivities catalyzed by the precariousness of the available technical means and developed out of necessity and in consonance with their denial to the conventions of narrative-representational-industrial filmmaking and the state repression during the toughest period of Brazilian military-civil dictatorship.
keywords:
marginal cinema; Hélio Oiticica; experimental film; marginália; quasi-cinema
