CRÍTICA INTERMÍDIA A PARTIR DA LITERATURA EXPANDIDA DO FILME 'AKA ANA', DE ANTOINE D’AGATA: VIDEOPERFORMANCE, LIVRO-OBJETO E HIPERTEXTO

Abstract

This paper starts from the notion of expanded literature literature (GARRAMUÑO, 2014; PATO, 2012; SANTOS; REZENDE, 2011) to analyze the film Aka Ana (France, 2008), by photographer Antoine D’Agata. The work in question is considered an expanded writing, which pierces the viewer's senses through the poetic-reflexive word (audio in Japanese and subtitles in French). Such verbality is amalgamated in visual and performative elements, and transmuted by them, resulting in a hybridizing intersection that makes Aka Ana an intermedia work (CLÜVER, 2006). It is also a film letter, a genre that is a hybrid in itself. In relation to the filmic narrative, D’Agata was based on the book Madame Edwarda, by Georges Bataille (1978), to script his film – not as a cinematic adaptation, but as a script of sensations to be experienced on stage, putting his own body in front of the camera to film. Thus, Aka Ana constitutes a way of reading Bataille’s novel, from which D’Agata created her own writing. In order to encompass the complexity of the work studied, this work is a critical reading of the film woven in an expanded way - that is, at the same time that it analyzes an expanded writing, it configures itself as an expanded critique (FREITAS; PEREIRA, 2015). To this end, the work is presented in the form of an intermedia critique composed of audiovisual, plastic and verbal convergence (HIGGINS, 2012), which includes a video performance, an object book and a hypertext. These derived formats are themselves hybrid in nature: manual performance in front of the video camera gave rise to video performance from the video arts (DUBOIS, 2004; MACHADO, 2007; MELLO, 2008) whose gestural sculpture materialized a book-object. This, in turn, is characterized by having the materiality of the book object taken as language by the arts of the book (CARRIÓN, 2011; DERDYK, 2013; MARTINS FILHO, 2008; PAIVA, 2010; PLAZA, 1982; SILVEIRA, 2008), offering the reader the opening to new reading choreographies given its peculiar way of being read, seen, touched and handled (DERDYK, 2012; 2013). The transition from the handwritten text (by hand) on the pages of the book-object to the typed hypertext (with the fingers) on the online pages distances the reader's hands, but offers new and agile possibilities of combining one link with another in the hypertextual network , within reach of a “touch” (mouse click). Therefore, its characteristic is the interpenetration between materialities, formats, types of media and languages, being an intermedial work in nature (BEIGUELMAN, 2007; MACHADO, 2008; MÜLLER, 2012). His narrative shares knowledge and impressions about Aka Ana; it is not fictional – it deals essayically with the film's fiction. Written through textual bricolage, the hypertext of this work extends and deepens the text written in the book-object and read in the video performance. The home online page has two main reading entries, in addition to “mobiles” with quotes that float hypertextually through buttons and create navigation mazes, bringing their form closer to the profile of the immersive reader typical of digital networks (MURRAY, 2003; SANTAELLA, 2004). With this proposition, the aim is to follow the advancement of text production technologies, taking as a context the theme of expansion in ways of reading, based on new relationships with the virtuality of the page-screen and the tangentiality of paper. In this sense, the challenge of this work is to be theory put into practice, providing the reader with an intermedial experience within the scientific sphere, since hypertext enables interactions that make each path a unique reading, expanding the possibilities of polysemy already typical of language.