Abstract
This article aims to analyze certain forms of extension of the Modernist movement in São Paulo. More specifically, this work seeks to observe the manifestation of Modernism in the trajectory of the film critic Paulo Emílio Salles Gomes between the 1960s and 1970s. Situated in a unique position vis-à-vis Modernism, the critic articulated, throughout his trajectory, several ways of dealing with the movement. On the one hand, it is possible to assess the extension of the theme in the critic’s formulations about the figure of the writer Oswald de Andrade, with whom he was close since the 1930s. On the other hand, a more comprehensive reflection on Modernism is crystallized in the early 1970s, in a document in which Paulo Emílio reflects on the Week of Modern Art of 1922. Through these two perspectives, we hope to reflect on the meaning of Modernism’s updating in the turbulent context that followed the 1964 Coup.
Keywords
Paulo Emílio; Modernism; heritage; Week of Modern Art; Oswald de Andrade