Nietzsche and the seventh art in Brazil: A Study of the Film Days of Nietzsche in Turin by Júlio Bressane

Ivo Da Silva Júnior

doi:10.31649/sent45.01.009

Authors

Ivo Da Silva Júnior Federal University of São Paulo (Brazil) https://orcid.org/0000-0003-4171-8759

DOI:

https://doi.org/10.31649/sent45.01.009

Keywords:

Brazilian cinema, philosophical reception, translation, cinematic language

Abstract

Considering the work of Brazilian filmmaker Júlio Bressane as the most representative for a study of the reception of Nietzschean philosophy in Brazilian cinema, this article aims to analyze the film Days of Nietzsche in Turin. To this end, we examine the filmmaker’s strategies for transposing a theoretical corpus into visual language, seeking to identify, throughout this process, the interpretative frameworks that inform his reading of Nietzschean philosophy. Through the use of unconventional cinematic techniques, an innovative handling of the camera, and elements drawn from Brazilian culture, the director translates Nietzschean concepts into visual form, turning this film into a singular example of the artistic reception of philosophical thought, that is, a cultural intervention through the incorporation of elements exogenous to Brazilian culture, which thereby become part of it.

Author Biography

Ivo Da Silva Júnior, Federal University of São Paulo (Brazil)

PhD, associate professor

References

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