The movement-image under Paulo Barros’ carnival visualities

Abstract

In the 20th century, the movement-image transcended the cinema screen, a phenomenon that Lipovetsky and Serroy called cinema spirit. In this context, it is important to understand how the seventh art makes part of the imaginary of the humanity and constitutes itself as a matrix form to other practices and representations, as the parades of the Samba Schools in Rio de Janeiro. The relationships of intertextuality between the parades and the cinematography date back to the first decade of the presentations; but they became more accentuated from the 1980’s onwards. Since then, several artists from the carnival in Rio have produced carnivalesque palimpsests of the movement-image, among which stands out Paulo Barros. From the Wizard of Oz to the Pirates of the Caribbean films, several movies inspired him in the production of costumes and allegories cars. In this article, I study Barro’s work in the first two decades of this century to identify the cinematographic images that were presented in the form of imagetic palimpsests.