<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[daraoliver]]></title><description><![CDATA[Daraoliver]]></description><link>https://www.daraoliver.com/blog</link><generator>RSS for Node</generator><lastBuildDate>Sun, 05 Apr 2026 07:59:35 GMT</lastBuildDate><atom:link href="https://www.daraoliver.com/pt/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[Fragmentação, desempenho e revolta feminista: o patriarcado em Daisies (1966) e The Girls (1968)]]></title><description><![CDATA[Introdução Daisies (1966), de Věra Chytilová, e The Girls (Flickorna, 1968), de Mai Zetterling, estão entre os filmes feministas mais ousados do cinema europeu do final da década de 1960. Embora produzidos em contextos nacionais diferentes, ambos os filmes desafiam o patriarcado cinematográfico e social por meio de estratégias estéticas ousadas que rompem com a coerência narrativa, a visão do espectador e a representação de gênero. Daisies, realizado no âmbito da Nova Vaga Checa e moldado...]]></description><link>https://www.daraoliver.com/post/fragmenta%C3%A7%C3%A3o-desempenho-e-revolta-feminista-o-patriarcado-em-daisies-1966-e-the-girls-1968</link><guid isPermaLink="false">6968dde5c90dde0603f903a3</guid><pubDate>Thu, 15 Jan 2026 12:42:10 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/11062b_d8908fab51c840469183607a99438846~mv2_d_4246_2450_s_4_2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Fragmentation, Performance, and Feminist Revolt: Patriarchy in Daisies (1966) and The Girls (1968)]]></title><description><![CDATA[Introduction Věra Chytilová’s Daisies  (1966) and Mai Zetterling’s The Girls  ( Flickorna , 1968) are among the most formally adventurous feminist films to emerge from European cinema in the late 1960s. Though produced in different national contexts, both films challenge cinematic and social patriarchy through bold aesthetic strategies that disrupt narrative coherence, spectatorship, and gendered representation. Daisies , made within the Czech New Wave and shaped by the constraints of...]]></description><link>https://www.daraoliver.com/en/post/fragmentation-performance-and-feminist-revolt-patriarchy-in-daisies-1966-and-the-girls-1968</link><guid isPermaLink="false">6968dda9022bfc82f762e044</guid><pubDate>Thu, 15 Jan 2026 12:30:17 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/11062b_d8908fab51c840469183607a99438846~mv2_d_4246_2450_s_4_2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Análise comparativa: os filmes políticos são necessariamente propagandísticos?]]></title><description><![CDATA[Dara Oliver Andia A relação entre cinema e política é inseparável, mas os filmes políticos variam na forma como persuadem ou convidam à reflexão. Este ensaio defende que o cinema político pode transcender a propaganda através da complexidade estilística, da ambiguidade moral e da forma narrativa aberta. Com foco em Le Crime de Monsieur Lange (Jean Renoir, 1936, França) e Los Olvidados (Luis Buñuel, 1950, México), ele explora como cada filme usa mise-en-scène, cinematografia e edição para...]]></description><link>https://www.daraoliver.com/post/an%C3%A1lise-comparativa-os-filmes-pol%C3%ADticos-s%C3%A3o-necessariamente-propagand%C3%ADsticos</link><guid isPermaLink="false">6968dacc86a7b989f0cd7d7b</guid><pubDate>Thu, 15 Jan 2026 12:27:20 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/803d153c384a4ca0926b5764880f9dfd.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Comparative Analysis: Are Political Films Necessarily Propagandistic?]]></title><description><![CDATA[Dara Oliver Andia The relationship between cinema and politics is inseparable, yet political films vary in how directly they persuade or invite reflection. This essay argues that political cinema can transcend propaganda through stylistic complexity, moral ambiguity, and open-ended narrative form. Focusing on Le Crime de Monsieur Lange  (Jean Renoir, 1936, France) and Los Olvidados  (Luis Buñuel, 1950, Mexico), it explores how each film uses mise-en-scène, cinematography, and editing to...]]></description><link>https://www.daraoliver.com/en/post/comparative-analysis-are-political-films-necessarily-propagandistic</link><guid isPermaLink="false">6968da4c022bfc82f762d55b</guid><pubDate>Thu, 15 Jan 2026 12:17:06 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/803d153c384a4ca0926b5764880f9dfd.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[REFLEXÃO CRÍTICA ]]></title><description><![CDATA[Introdução Este projeto de prática como pesquisa  investiga como a respiração, a voz e a identidade linguística podem ser mobilizadas como material cinematográfico para explorar as dimensões emocionais e corporificadas da comunicação. O curta-metragem Breath  (2025) surgiu por meio de um processo iterativo que examinou como o som não verbal, a fala fragmentada e o ato físico de respirar podem revelar estados internos que extrapolam o significado linguístico. Embora o projeto tenha se iniciado...]]></description><link>https://www.daraoliver.com/post/reflex%C3%A3o-cr%C3%ADtica</link><guid isPermaLink="false">6968d4eac10b4c5366db907f</guid><pubDate>Thu, 15 Jan 2026 12:03:36 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/49fab4_bcb9f320b0584d9c9aa16dbb0969eb0a~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[CRITICAL REFLECTION – Breath ]]></title><description><![CDATA[Introduction This practice-as-research project investigates how breath, voice, and linguistic identity may be mobilised as cinematic material to explore the emotional and embodied dimensions of communication. The short film Breath  (2025) emerged through an iterative process that examined how non-verbal sound, fragmented speech, and the physical act of breathing can reveal internal states that exceed linguistic meaning. Although the project initially centred on an abstract interest in breath...]]></description><link>https://www.daraoliver.com/en/post/critical-reflection-breath</link><guid isPermaLink="false">6968d4953e23fce2936eed75</guid><pubDate>Thu, 15 Jan 2026 11:52:00 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/49fab4_bcb9f320b0584d9c9aa16dbb0969eb0a~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Da Ironia à Crise Narrativa: Uma Análise Crítica]]></title><description><![CDATA[O artigo de Frida Beckman, “From Irony to Narrative Crisis: Reconsidering the Femme Fatale in the Films of David Lynch”  (2012), examina como uma figura cinematográfica consagrada se transforma ao longo do tempo. Beckman explica que a femme fatale , antes controlada por regras patriarcais no cinema clássico de Hollywood, é transformada nos filmes de Lynch por meio de narrativas não lineares e do que Gilles Deleuze (1989) descreve como a imagem-tempo . Em Blue Velvet  (1986), Lost Highway ...]]></description><link>https://www.daraoliver.com/post/da-ironia-%C3%A0-crise-narrativa-uma-an%C3%A1lise-cr%C3%ADtica</link><guid isPermaLink="false">6968d2da6a68107926d48616</guid><pubDate>Thu, 15 Jan 2026 11:48:45 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/11062b_6465e82a70b540e5b4668ce0ba31f2c5~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[From Irony to Narrative Crisis: A Critical Analysis]]></title><description><![CDATA[Frida Beckman’s article, “From Irony to Narrative Crisis: Reconsidering the Femme Fatale in the Films of David Lynch” (2012), examines how a well-known film character changes over time. She explains that the femme fatale, who was once controlled by patriarchal rules in classic Hollywood, is transformed in Lynch’s films by non-linear storytelling and what Gilles Deleuze (1989) describes as the time-image. In Blue Velvet (1986), Lost Highway (1997), and Mulholland Drive (2001), Beckman suggests...]]></description><link>https://www.daraoliver.com/en/post/from-irony-to-narrative-crisis-a-critical-analysis</link><guid isPermaLink="false">6968d27c482610fa288cd08e</guid><pubDate>Thu, 15 Jan 2026 11:42:02 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/11062b_6465e82a70b540e5b4668ce0ba31f2c5~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Summary Film History: An Introduction, David Bordwell]]></title><description><![CDATA[The late 19th century saw a boom in popular visual culture, magic lantern shows, stereoscopes, dioramas, circuses, and traveling theater, that prepared audiences for cinema. ]]></description><link>https://www.daraoliver.com/en/post/summary-film-history-an-introduction-david-bordwell</link><guid isPermaLink="false">68a3b29b81e6ee2fae5be0dc</guid><category><![CDATA[Cinema Studies]]></category><category><![CDATA[Cinematography]]></category><pubDate>Mon, 20 Oct 2025 12:00:30 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/11062b_b6d50c89903742db8f10d3ca873ab46c~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Resumo História do Cinema: Uma Introdução, David Bordwell Parte 02]]></title><description><![CDATA[The late 19th century saw a boom in popular visual culture, magic lantern shows, stereoscopes, dioramas, circuses, and traveling theater, that prepared audiences for cinema. ]]></description><link>https://www.daraoliver.com/post/resumo-hist%C3%B3ria-do-cinema-uma-introdu%C3%A7%C3%A3o-david-bordwell-parte-02</link><guid isPermaLink="false">68a6372d38144e410f94f28a</guid><category><![CDATA[Estudos de Cinema]]></category><category><![CDATA[cinematografia]]></category><pubDate>Mon, 20 Oct 2025 12:00:20 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/11062b_b6d50c89903742db8f10d3ca873ab46c~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Resumo História do Cinema: Uma Introdução, David Bordwell - Parte 01]]></title><description><![CDATA[The late 19th century saw a boom in popular visual culture, magic lantern shows, stereoscopes, dioramas, circuses, and traveling theater, that prepared audiences for cinema. ]]></description><link>https://www.daraoliver.com/post/resumo-hist%C3%B3ria-do-cinema-uma-introdu%C3%A7%C3%A3o-david-bordwell-parte-01</link><guid isPermaLink="false">68a6046805b524536d60fb99</guid><category><![CDATA[Estudos de Cinema]]></category><category><![CDATA[cinematografia]]></category><pubDate>Mon, 20 Oct 2025 12:00:19 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/11062b_b6d50c89903742db8f10d3ca873ab46c~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Resumo: Arte Cinematográfica, David Bordwell e Kristin Thompson]]></title><description><![CDATA[Films offer viewers experiences, narrative, emotional, sensory, that no other medium can. Every shot, sound cue, color choice, and edit is the result of deliberate creative decisions aimed at shaping how audiences feel and think. ]]></description><link>https://www.daraoliver.com/post/resumo-arte-cinematogr%C3%A1fica-david-bordwell-e-kristin-thompson</link><guid isPermaLink="false">68a5da9f117f24a67f2b6c6a</guid><category><![CDATA[Estudos de Cinema]]></category><category><![CDATA[cinematografia]]></category><pubDate>Mon, 13 Oct 2025 12:00:28 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/a5fa965aed6aa75b466d20ffe5d3aa3b.jpg/v1/fit/w_1000,h_799,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Summary: Film Art, David Bordwell and Kristin Thompson]]></title><description><![CDATA[Films offer viewers experiences, narrative, emotional, sensory, that no other medium can. Every shot, sound cue, color choice, and edit is the result of deliberate creative decisions aimed at shaping how audiences feel and think. ]]></description><link>https://www.daraoliver.com/en/post/summary-film-art-david-bordwell-and-kristin-thompson</link><guid isPermaLink="false">68a3afca054d02f5f63b83af</guid><category><![CDATA[Cinema Studies]]></category><category><![CDATA[Cinematography]]></category><pubDate>Mon, 13 Oct 2025 12:00:22 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/a5fa965aed6aa75b466d20ffe5d3aa3b.jpg/v1/fit/w_1000,h_799,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Resumos de Cinematografia: Teoria e Prática - Blain Brown]]></title><description><![CDATA[ A cinematografia, ou "escrita com movimento", usa enquadramento, escolha de lentes, iluminação, cor, movimento e textura para transmitir emoções, tom e subtexto visualmente.]]></description><link>https://www.daraoliver.com/post/resumos-de-cinematografia-teoria-e-pr%C3%A1tica-blain-brown</link><guid isPermaLink="false">68a4cb6d57dd11ac8baa3b56</guid><category><![CDATA[Estudos de Cinema]]></category><category><![CDATA[cinematografia]]></category><pubDate>Mon, 06 Oct 2025 12:00:25 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/8bd6cc7906084327bf62501d92b109bd.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Summaries of Cinematography: Theory and Practice]]></title><description><![CDATA[ Cinematography, or “writing with motion,” uses framing, lens choice, lighting, color, movement, and texture to convey emotions, tone, and subtext visually.]]></description><link>https://www.daraoliver.com/en/post/summaries-of-cinematography-theory-and-practice</link><guid isPermaLink="false">68a39f5f6aa481be49312630</guid><category><![CDATA[Cinema Studies]]></category><category><![CDATA[Cinematography]]></category><pubDate>Mon, 06 Oct 2025 12:00:22 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/8bd6cc7906084327bf62501d92b109bd.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Resumo: Estudos de Cinema: Os Conceitos-Chave por Susan Hayward]]></title><description><![CDATA[Cinema Studies: The Key Concepts, de Susan Hayward, é um guia de referência abrangente para o campo dos estudos de cinema.]]></description><link>https://www.daraoliver.com/post/resumo-estudos-de-cinema-os-conceitos-chave-por-susan-hayward</link><guid isPermaLink="false">68a473db724e9e02b33e8b7a</guid><category><![CDATA[Estudos de Cinema]]></category><pubDate>Mon, 29 Sep 2025 12:00:22 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/0fc820b444c64c6da606fc2fa09830cc.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Summary: Cinema Studies: The Key Concepts by Susan Hayward]]></title><description><![CDATA[Overview  Susan Hayward’s Cinema Studies: The Key Concepts is a comprehensive reference guide to the field of film studies. ]]></description><link>https://www.daraoliver.com/en/post/summary-cinema-studies-the-key-concepts-by-susan-hayward</link><guid isPermaLink="false">68a3987b81e6ee2fae5ba35b</guid><category><![CDATA[Cinema Studies]]></category><pubDate>Mon, 29 Sep 2025 12:00:13 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/0fc820b444c64c6da606fc2fa09830cc.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Sobre ouvir Cecílio]]></title><description><![CDATA[Fazer essa entrevista com o Cecílio Elias Neto foi, sem exagero, um dos momentos mais comoventes de todo o processo de construção do documentário Piracicaba Nunca Esqueceu. ]]></description><link>https://www.daraoliver.com/post/sobre-ouvir-cec%C3%ADlio</link><guid isPermaLink="false">68a3961c5fee7a8e9773b6e3</guid><category><![CDATA[Piracicaba Nunca Esqueceu]]></category><pubDate>Mon, 22 Sep 2025 12:00:26 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/49fab4_688f99ab260d4cf4849bbb52e8d13956~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[On Listening to Cecílio]]></title><description><![CDATA[Conducting this interview with Cecílio Elias Neto was, without exaggeration, one of the most moving moments in the entire process of making the documentary Piracicaba Never Forgot.]]></description><link>https://www.daraoliver.com/en/post/on-listening-to-cec%C3%ADlio</link><guid isPermaLink="false">68a396b51b1ccaf04ea3f39a</guid><category><![CDATA[Piracicaba Never Forgot]]></category><pubDate>Mon, 22 Sep 2025 12:00:17 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/49fab4_688f99ab260d4cf4849bbb52e8d13956~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item><item><title><![CDATA[Piracicaba Never Forgot, and Neither Did I]]></title><description><![CDATA[There are encounters that transcend time. Interviewing Cecílio Elias Neto for the documentary Piracicaba Never Forgot was one of them. And meeting Chico Andia again, with his living memory of projectors, seats, and sound, was another.]]></description><link>https://www.daraoliver.com/en/post/piracicaba-never-forgot-and-neither-did-i</link><guid isPermaLink="false">68a394b91b1ccaf04ea3f170</guid><category><![CDATA[Piracicaba Never Forgot]]></category><pubDate>Mon, 15 Sep 2025 12:00:38 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/49fab4_3e8f4ecdeefb4b6a831db6e70a5613e3~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>dara-2405</dc:creator></item></channel></rss>