Resumen de Da contemporaneidade de um acontecimento estético-político em Câncer
Glauber Rocha made his film Câncer in 1968 with the idea to experiment the ways of cinema and to have fun withhis friends. In a four-day filmmaking, the director has taken risks on the possibles of space and time, in a processof improvisation, taking long shots. This aesthetic experience is in the order of imponderable and opens itself tohazard – this question leads us into a discussion on the contemporaneity of the film, as long as different regimesof the image and temporalities take place. If Glauber’s experimentation has a relation with other experiences fromwhat can be called a modern cinema, we try to radicalize a tension with a history of cinema, so that we can bringthe problem of contemporariness in the meaning of a strange way to adhere to time through a disjunction and ananachronism, as Agamben (2009) posed. Thus, the temporalities are not organized in a linear form – instead,they get into a multiplicity, and the image is a happening that connects to the bodies of viewers and launchesnew possibilities of common. The exchanges between cinema and contemporary art can ben posed by the veryinscription of the images that create chaos and dishomogeneity. The possibility of raising happenings, even smallones, as pointed by Deleuze (2010a), invents new space-times, ways of resisting to control. In Câncer, it is likesensual images try to get out from the screen to live in the world and put the spectator in movement.
