Auteur Studies

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This article outlines the current state of videographic criticism with special reference to the Italian Studies context and goes on to report on the experience of co-teaching a graduate seminar (a one-semester course), ‘Italian Film and Television and Videographic Criticism’, at The Ohio State University. We argue that videographic criticism is an exciting opportunity for students and scholars of the Italian context, for at least three reasons. The first is because so much videographic activity has focused on anglophone material while what work there is on Italy has tended to focus on male auteurs, exportable filone cinema (spaghetti western, horror), and neorealism. This means that our disciplinary expertise on topics less familiar to mainstream and cult cinephilia has the chance to find novel expression in videographic form and to fill some glaring gaps. Secondly, videographic criticism can help to attract students: the chance to make (as well as to study) audiovisual essays is an appealing one for many and may allow students to find an audience for their work more readily than for the standard prose paper. Thirdly, the practice of videographic criticism can allow us to communicate and publicise our work more effectively beyond the academy, again potentially increasing enrolments but also helping to engage communities and constituencies without easy access to our prose scholarship.

If any one moment marked Shane Meadows' indelible entry into the British cinema canon, it was the victory of This is England (2006) in the best film category at the 2008 BAFTAs. Just as This is England was a semi-autobiographical coming-of-age drama, this award-ceremony victory represented a parallel 'coming-of-age' in Meadows' filmmaking career. Triumphing over a particularly glossy roster of nominated films -David Cronenberg's Eastern Promises, the rock biopic Control, the sweeping historical spectacle Atonement and the political action thriller The Bourne Ultimatum (all 2007) -the low-budget This is England certainly stood out among its competitors. Moreover, as perhaps the only uncontentiously 'British' film among the nominees with a cast largely made up of unknown and non-professional performers, Meadows' 1980s period drama seemed particularly incongruous when the competition featured globally recognisable stars such as Naomi Watts, Keira Knightley, Viggo Mortensen and Matt Damon.

This course will examine the surreal, whimsical, grotesque, and weird films of director Tim Burton. We will come to know his body of work as a series of narrative, visual, and thematic preoccupations that have influenced a variety of film artists. Students can expect to examine a varied body of work from a mix of critical lenses, including class, race, gender, sexuality, and disability.

This article is presented in two halves. The first analyses little known interviews with González Iñárritu before he made his career in feature films that document his practice in radio, advertising and television drama. These interviews focus on his early conception of the relation between art and commerce and his views on the Mexican media scene in the 1990s. The second half of the article analyses the rare primary materials themselves: radio commercials, television idents and, at much greater length, his first feature-length fiction film, an experimental drama made for Televisa in 1995 called Detrás del dinero/Behind the Money. The conclusion argues that even as Iñárritu has more recently distanced himself from broadcasting, his later career as an artistic and commercially successful feature film director embodies a precarious balance between artistic innovation and mass culture and a focus on the audience which he first learned in his early work in advertising, radio and television.

The game-changer Rituparno Ghosh (1961-2013) was a filmmaker, lyricist and writer who emerged on the cultural scene of Bengal as a copywriter of a Kolkata-based advertising firm in the eighties. He made a mark for himself in the world of commercials, winning several awards for Response, the agency he worked for. After directing two documentaries for Doordarshan (National television), he graduated into filmmaking with Hirer Angti (Diamond Ring, 1992), which was critically acclaimed but failed to get a commercial release. For his second film, Ghosh collaborated with Aparna Sen and Renu Roy to form Spandan Films which produced Unishey April (19 th April, 1995). The film won the National Award for the Best Film and when it hit the screens in the summer of 1995 it remarkably changed the experience of cinema for the middleclass Bengali bhadrolok. 1 Ghosh arrived at a time when Bengali cinema was going through a particularly difficult phase. Satyajit Ray had passed away in 1992, leaving behind him a vacuum which seemed difficult to fill. Although Goutam Ghose, Aparna Sen and Buddhadeb Dasgupta tried to carry forward the legacy of 'intellectual' cinema represented by Ray and Mrinal Sen, they made films far in-between having little bearing on the commercial market. Tollygunge, where the main studios are located, had been taken over by filmmakers who were mostly remaking Tamil or Hindi films. They worked within severe budget constraints and the financial and intellectual impoverishment was glaringly visible on screen. The Bengali middleclass audience, unable to relate to the films, which lacked originality, turned away from the theatres to the small screen. Bengali television consciously promoted classics of 1950s, 60s and 70s fuelling nostalgia for a lost 'golden era'. This low phase lasted for more than a decade, after the sudden demise of Bengali matinee idol Uttam Kumar in 1980. Rituparno Ghosh arrived in the early 1990s, in the milieu of a severely struggling industry. With a persuasive style of storytelling as his forte, Ghosh thoughtfully merged the distinct categories of art-house and commercial cinema, reviving the middle-of-the-road genre. With several years of experience in a top-notch advertising firm,

Studies of genre and authorship seem beset by infighting and competition as critics try to find an absolute truth of theory with some advocating a unified approach. In this essay I attempt to show how John Carpenter's The Thing pulls these two fields together.

This is the first book in the Influential Game Designer Book Series and is about one of the best known of game designers, Shigeru Miyamoto, the mastermind behind such iconic and long-standing game franchises as Donkey Kong, Mario Bros., and Zelda. I argue here that even when we are talking about complicated systems of production and distribution, it’s imperative to think about how human agency plays out. Thus, as the field of game studies develops the historiography of games, I provide a focus on design through the lens of the designer. Miyamoto, then, is a particular provocative subject because of his involvement in both the design of game software and game hardware. Further, his career, dating from the 1970s, spans much of the history of video games. His influence can be seen throughout the game industry—he has created and defined a number of game genres—and throughout popular cultures at large. Miyamoto’s games and systems show up in other forms in movies, television, magazines, books, orchestras, schools, dance clubs, rap music, and children’s lunch boxes.

Table of Contents
Acknowledgements
List of Figures
Forward

1. The Father of Modern Video Games
2. Spatial Narratives: Characters in their Worlds
3. From Games to Experiences: Designing for User Freedom and Unique Expression
4. Revolutionizing Gameplay: Casual Games and Mature Audiences
5. In His Own Words: Transcript of Miyamoto's 1999 Game Developer Conference Keynote
6. A Continuing Legacy

Gameography
Works Cited
Index

Read excerpt here: http://issuu.com/bloomsburyacademic/docs/shigeru_miyamoto_widget

Este capítulo pretende llamar la atención sobre el modo en que el cine musical de Saura –desde Bodas de sangre hasta Jota– articula una mirada al pasado y al presente de músicas populares o de raíz tradicional sensiblemente distinta a la propuesta por otros discursos hegemónicos. Para realizar este análisis, se utilizará como punto de partida el concepto de autenticidad, recurrente en disciplinas como la sociología y la musicología. Se trabajará sobre la hipótesis de que todas las películas musicales de Saura plantean una noción renovada de lo que es considerado auténtico, genuino o legítimo en la música y el cine por un determinado ecosistema cultural. En su cuestionamiento de concepciones previas en torno a la autenticidad, el cine musical de Saura también deconstruye la noción de documental sobre música al que suele estar asociado. El objetivo final del texto será, entonces, averiguar en qué medida Saura propone un nuevo modelo de "autenticidad musical" y "autenticidad cinematográfica".

[Abstract in Greek and English].

Panayiota Mini, The Filmic Form of Pain and of Aching Recollection: Takis Kanellopoulos’ Modernism, Athens: National Bank Cultural Foundation (MIET), 2018 [in Greek], pp. 442.

Το βιβλίο αυτό αποτελεί την πρώτη επιστημονική μονογραφία για το κινηματογραφικό έργο του Τάκη Κανελλόπουλου, του ξεχωριστού δημιουργού από τη Θεσσαλονίκη που χάρισε στον ελληνικό κινηματογράφο ταινίες όπως ο Μακεδονικός γάμος (1960), ο Ουρανός (1962), η Εκδρομή (1966), η Παρένθεση (1968), το Χρονικό μίας Κυριακής (1975) και το Ρομαντικό σημείωμα (1978). Συνδυάζοντας διακειμενικές και φορμαλιστικές αναλύσεις, η μελέτη εξετάζει το έργο του Κανελλόπουλου μέσα στο ιστορικό και καλλιτεχνικό πλαίσιό του και εξηγεί τους τρόπους με τους οποίους ο σκηνοθέτης απέκλινε από παραδοσιακές πρακτικές και πρότεινε την προσωπική του εκδοχή για έναν καλλιτεχνικό κινηματογράφο. Πιο συγκεκριμένα, το βιβλίο φωτίζει τις ταινίες του Κανελλόπουλου σε σχέση με εθνολογικές και ιστορικές μελέτες της εποχής, με τη λογοτεχνική και εικαστική παραγωγή της γενέτειράς του και με παράλληλες κινηματογραφικές εξελίξεις στην ανατολική και δυτική Ευρώπη· παρακολουθεί και σχολιάζει την πρόσληψη των ταινιών του από την κριτική της εποχής· και αναλύει τις αφηγηματικές και υφολογικές τεχνικές με τις οποίες ο Κανελλόπουλος μετουσίωσε τις προσλαμβάνουσές του σε έναν μοντερνιστικό κινηματογράφο που αποτύπωσε με εκφραστικότητα τον αιώνιο ανθρώπινο πόνο -στον πόλεμο, στον έρωτα, στην κάθε μορφής απώλεια και στην αναπόληση του παρελθόντος.

This is the first scholarly monograph on the cinema of Takis Kanellopoulos, the distinguished Greek film auteur, who endowed Greek cinema with such films as Macedonian Wedding (1960), Sky  (1962), Excursion (1966), Interlude (1968), Memories of a Sunday (1975) and  Romantic Note (1978). By combining intertextual and formalist analyses, this study examines Kanellopoulos' work within its historical and artistic contexts and explains the ways in which the director departed from traditional practices and proposed his own version of art film. More specifically, the book illuminates Kanellopoulos' films in relation to ethnological and historical studies of his time, to the literature and painting of Thessaloniki (Kanellopoulos' birthplace), and to parallel developments in eastern and western European cinema. The book also  traces and comments on the reception of his films;  and analyzes the narrative and stylistic techniques through which Kanellopoulos sublimated various influences into a modernist cinema that expressively rendered the eternal human suffering --in war, in love, in loss of any kind, and in the recollection of the past.

Research of the world of cinema often deals with the manner in which movies replicate the social balance of power, creating a symbolic order based on an essentially masculine world-view that puts the man at its center. The price women pay for this phallocentric approach-their persistent objectification in cinema, and the very small number of female screenwriters and directors-has become a much-discussed topic in contemporary research. However, the question of the price paid in the male artistic creation process has yet to receive the attention it deserves.
This qualitative study addresses the lacuna in contemporary research, with reference to three metafictional films that focus on male directors for whom cinema is the pivotal center of their being: the Israeli film Peaches and Cream directed by Gur Bentwich (2019); the Spanish film Pain and Glory, director Pedro Almodóvar (2019); and Bob Fosse’s All That Jazz (USA, 1979). They all are viewed as having an affinity with the ancient Greek comparison of male creativity with female procreativity, which is still reflected in contemporary studies.
The films paint a picture of the male creative process shadowed by a sense of danger and loss of self. All three expose the feelings of anxiety inherent in film directors’ work, and the possible resultant breakdown, not only in an emotional sense but in a real, potentially fatal physical or medical sense as well. In all three movies, the director conceives of his ability to restore his sense of inner wholeness and male identity in a manner that contradicts the conventional balance of power, while customary power-relations are revealed as another road to loss of identity and sense of self. Each of the films ties the director’s ability to renew his sense of personal wholeness to developing a relationship with his surroundings, facilitated by audience appreciation, critical praise, or empathy from those close to him – all of which reinforce his feeling of belonging and significance. Without these aspects, the ‘absolute artist,’ whose life revolves around his art, is shown to be at death’s door, whether symbolically or in reality.

Challenging the prevailing notion among cinephiles that the auteur is an isolated genius interested primarily in individualism, Colin Burnett positions Robert Bresson as one whose life's work confronts the cultural forces that helped shape it. Regarded as one of film history's most elusive figures, Bresson (1901–1999) carried himself as an auteur long before cultural magazines, like the famed Cahiers du cinéma, advanced the term to describe such directors as Jacques Tati, Alfred Hitchcock, and Jean-Luc Godard. In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.

While many strategy games (both real-time- and turn-based-) use a fictionalized Earth history as a backdrop for their ludic elements, few seek to faithfully represent the progression of music history via the use of pre-existing music. Soren Johnson’s Civilization IV stands alone as it presents a thorough retelling of music history, with representative works from the Medieval, Renaissance, Baroque, Classical, Romantic, and Modern Eras, including works by Josquin, Palestrina, Bach, Mozart, Beethoven, Brahms, Dvořák, and American minimalist composer, John Adams. The game’s lead designer and AI programmer, Soren Johnson, personally selected each track included in the underscoring playlists. Drawing heavily upon new interviews with the game designers, this paper explores Soren Johnson’s personal representation of music history, analyzing in particular his use of John Sheppard’s Media Vita, Saint-Säens’s Cello Concerto No.1,  Rimsky-Korsakov’s Scheherazade, and the works of John Adams. I also discuss the implications of Johnson’s personalized version of history and argue that we can identify him with auteur film directors. The paper also addresses the potential for Civilization IV to educate its players in genres they may have been unfamiliar with, helping them contextualize and appreciate previously unfamiliar musics.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Critics often treat Wes Anderson’s films as the highly original creations of a distinctive auteur. While Anderson’s films have an aesthetic that appears to be wholly his own, his work also reveals the clear influence of filmmakers from around the world as well as Anderson’s close network of collaborators. In this course, we will examine film authorship through a close study of Anderson’s oeuvre. From auteur theory through recent studies of below-the-line labor, we will discuss creativity and influence
in film production. Students will understand the history and limitations of such studies for analyzing and evaluating cinema as an artform.

Italian filmmaker Federico Fellini (1920-1993) is one of the most renowned figures in world cinema. Director of a long list of critically acclaimed motion pictures, including La strada, La dolce vita, 8½, and Amarcord, Fellini's success helped strengthen the international prestige of Italian cinema from the 1950s onward. Often remembered as an eccentric auteur with a vivid imagination and a penchant for quasi-autobiographical works, the carnivalesque, and Rubenesque women, Fellini's inimitable films celebrate the creative potential of cinema as a medium and also provide thought-provoking evocations of various periods in Italian history, from the years of fascism to the age of Silvio Berlusconi's media empire.

In Making a Film Fellini discusses his childhood and adolescence in the coastal town of Rimini, the time he spent as a cartoonist, journalist, and screenwriter in Rome, his decisive encounter with Roberto Rossellini, and his own movies, from Variety Lights to Casanova. The director explains the importance of drawing to his creative process, the mysterious ways in which ideas for films arise, his collaborations with his wife, Giulietta Masina, his thoughts on fascism, Jung, and the relationship between cinema and television. Often comic, sometimes tragic, and rife with insightful comments on his craft, Making a Film sheds light on Fellini's life and reveals the motivations behind many of his most fascinating movies.

Available in its entirety for the first time in English, this volume contains the complete translation of Fare un film, the authoritative collection of writings edited and reworked by Fellini and initially published by Giulio Einaudi in 1980. The text includes a new translation of the Italo Calvino essay "A Spectator's Autobiography," an introduction by Italian film scholar Christopher B. White, and an afterword by Fellini's longtime friend and collaborator Liliana Betti.

The legacy of Charlie Chaplin is immeasurable and deeply woven into the history of cinema. At his height, he was the highest-paid and most recognizable star in the world, founded an independent studio with fellow industry titans, released continuous box-office smashes, rubbed elbows with some of the greatest thinkers of the twentieth century, and changed the language and shape of American cinema. Even later on in his life, as scandal plagued his career, as he was exiled from the country, as he grew more fearful of the world, he produced visions of deeply emotional comedy that still resonate with us today. Chaplin consistently drew on his early vaudeville and silent film era's limitations throughout his career in his distinctly visual and physical storytelling. Partially drawing on that era, Chaplin also returned to a contentious relationship with authority throughout his career, mainly through the Tramp's oblivious antics

This article argues that, propaedeutic to the construction of an Objectivist aesthetics, scholars must refute the irrational/immoral philosophical premises that have been destroying the philosophy of art. Due to the troubling combination of its contemporaneity, extremism, and considerable influence, poststructuralism, which, since the 1960s, has served as the default philosophical foundation for philosophers of art, is the target of this article.

This piece functions primarily as an auteur study of Japanese director Kiyoshi Kurosawa, dubbed "the Other Kurosawa" or "Kurosawa the Younger" by many American film critics. Kurosawa has made a name for himself in the last two decades by crafting a series of existential horror films (grouped problematically within "J-Horror"), beginning with Cure [Kyua] in 1997, and continuing with Charisma [Karisuma] (1999), Pulse [Kairo] (2001), Bright Future [Akarui Mirai] (2004), Loft [Shi no otome], and Retribution [Sakebi] in 2006.

Nel 1985 Federico Fellini si liberava dell'ossessione della memoria di un viaggio fatto nello Yucatan con lo scrittore Andrea De Carlo e l'antropologo-esoterico Carlo Castaneda, scrivendo (con Tullio Pinelli) il soggetto del "Viaggio a Tulun", che sarà pubblicato a puntate sul «Corriere della sera» nel 1986. Le matite di Milo Manara trasformeranno il soggetto che non poteva diventare un film in un fumetto sceneggiato dallo stesso regista riminese. Dapprima pubblicato a puntate sulla rivista «Corto Maltese», il fumetto di Fellini e Manara, "Viaggio a Tulum, da un soggetto di Federico Fellini, per un film da fare", ebbe un grande successo sancito dalle numerose edizioni che seguirono. "Approdo a Tulum. Le Neverland a fumetti di Fellini e Manara" è il saggio che intende analizzare il denominatore comune che ha legato i due artisti. Il testo ricostruisce, con attenzione alla storia e al costume, il rapporto che Fellini ebbe con il fumetto, da quando, prima di divenire regista, fu autore di vignette e storielle su periodici satirici, fino all'incontro fatale con il disegnatore Manara, la cui carriera attraversa un pezzo significativo di storia del fumetto italiano, anche questa ricostruita per il lettore con accurata dovizia.

In this article we introduce the queer Bengali auteur Rituparno Ghosh (1961–2013),who had a significant role in reviving the Bengali film industry that was going through a dark phase for a little more than a decade. As an iconic feminist film-maker and
queer cultural figure, Ghosh has been an influential icon within Bengal and more widely in India and the diasporas. In seeking to examine his vast oeuvre of work we focus on its various elements. First, we examine Ghosh’s feminist position, and how he shocked his middle-class audience through his transgressive discourses. Second, we investigate the influence and inspiration he received from figures such as Satyajit Ray and Rabindranath Tagore. We argue that Tagore’s sensibility and philosophy imbued all his films. In doing this he was also uncritically referencing the other great Bengali film-maker Satyajit Ray. Third, an examination of Ghosh is incomplete without referencing his uninhibited performance of queerness both in his films and in the public domain. Over here we look at his final queer film trilogy but also the impact he left on Calcutta’s LGBT community. Finally, this article ends by focusing on Ghosh’s legacy on other Bengali film-makers.

This essay characterizes the cinema of Lino Brocka as principally realist by (1) underscoring his consistent use of realistic material; (2) highlighting pronouncements by various film scholars on the realist aspects of the Brocka film; (3) identifying realist film tropes distilled from the preceding step; and finally, (4) putting forward the Brocka film's engagement with the life-world as a way to understand the auteur's brand of cinematic realism.

This preface to the third edition updates the study to the then most recent films by the director. The original introduction is in two parts: 'Truth in Travesty' makes an argument for the seriousness of Almodóvar's project even within its comedy and sensuality; 'Uses of Almodóvar' examines the reception of his work and its appropriation for debates on gender, sexuality and nationality.

The book series Transmedia: Participatory Culture and Media Convergence provides a platform for cutting-edge research in the field of media studies, with a strong focus on the impact of digitization, globalization, and fan culture. The series is dedicated to publishing the highest-quality monographs (and exceptional edited collections) on the developing social, cultural, and economic practices surrounding media convergence and audience participation. The term 'media convergence' relates to the complex ways in which the production, distribution, and consumption of contemporary media are affected by digitization, while 'participatory culture' refers to the changing relationship between media producers and their audiences.

La obra artística de Agnès Varda puede ser considerada como una experimentación constante, una reformulación y una transgresión habitual de los principios del lenguaje cinematográfico, de la narración, así como de los mismos géneros y soportes fílmicos. Varda fue, al igual que su protagonista de 'Sans toit ni loi' (1985), una nómada que buscaba encontrarse en continuo movimiento, desplazándose de un sitio a otro, pasando de un drama de pareja con tintes neorrealistas a un filme de ficción que dialoga en torno a lo que es la felicidad en la vida conyugal, así como a más de una decena de largometrajes de ficción y documentales que a menudo partían de algún elemento de interés personal o biográfico.

La espigadora y la cineasta: el cine de Agnès Varda reúne veinte textos en donde se analizan los filmes más importantes y entrañables de la realizadora belga, todo esto desde un enfoque multidisciplinario y con el objetivo de preservar, valorar y comprender el preciado legado de una de las directoras más trascendentes de la historia del cine.

This thesis is dedicated to the cinema art of Kira Muratova with the focus on the theme of grotesque. Kira Muratova shot films of different genres; mixing styles, creating a new reality of cinema, mixing audio-visualization of people with animals, classical literature with slang, including photography and pornography, installation, performance, opera and ballet. Due to this fact, her films provide rich objects of research in Visual Culture Studies. This study is concerned with the audio-visual effects, images and scenes connected to the theme of grotesque in the auteur cinema of Kira Muratova.

Deliberately departing from the possible socio-historical context, the author of the project presents intertextuality of Muratova's film.This thesis includes a detailed analysis of images and shots of several films with a focus on grotesque and along with general description of the director’s main devices. It searches for meanings, denotations and connotations in the films’ images as the essential elements of the films. In addition to an overview of the whole art of director and auteur features, the project deals in more details with two recent films by Muratova— Two in One (2006) and Melody for a Street Organ (2009). Both films are examples of post-modern cinema, and represent ironically, controversially, abruptly, painfully, but truthfully, many important cultural and philosophical issues and essences: arts, man and his place in the world, his relation to other living beings. Semiotics, auteur theory, other theories of film studies, linguistics and psychoanalysis in their postmodern appearances have been applied to the analysis of Kira Muratova's film.

A tutti noi è capitato e capita di considerare l'autore come criterio di scelta e di valutazione, come una garanzia di qualità e di corrispondenza ai nostri gusti cinematografici. Tutto questo ci appare naturale, parte integrante del modo con cui andiamo a vedere un film. Tuttavia, se volgessimo
lo sguardo alla storia del cinema, alla critica e al dibattito teorico troveremmo ben presto indizi significativi pronti a indicarci quanto di costruito, di culturalmente determinato ci sia dietro la nozione di autore e quanto essa stessa sia suscettibile di analisi storica, critica e teorica.
È quanto il volume si propone di fare, ricostruendo un percorso tutt'altro che lineare in un secolo di cinema. Soffermandosi su alcuni snodi che ne hanno segnato la definizione e le modificazioni, analizzandone alcuni casi esemplari (Ford, Hitchcock, Leone), l'autore cinematografico viene indagato per mostrarne lo statuto mutevole, contraddittorio e alle volte paradossale. Il libro fa dunque scoprire come alla fine, nel panorama contemporaneo, questo alter ego, che dietro le immagini ha accompagnato la nostra esperienza di spettatori cinematografici, forse ha irrimediabilmente perso il suo ruolo e la sua posizione.

Tese em Filosofia defendida na UFMG em 27 de janeiro de 2014. Menção honrosa no Prêmio CAPES de Tese 2015. Prêmio UFMG de Tese 2015.
O autor e sua obra são muito mais contingentes e instáveis do que parecem. Convém se perguntar: quando emergiu a figura do autor e como ela funciona? Como o sujeito se relaciona com o discurso, conferindo a este uma unidade autoral? E desde quando passou a ser concebível que um discurso pudesse ser atribuído a um indivíduo e apropriado por alguém? Em certa medida, pretendo responder essas perguntas nesta tese, partindo de uma perspectiva foucaultiana, segundo a qual o autor moderno é concebido como uma maneira de organizar o discurso, uma determinada especificação da função-sujeito e um complexo mecanismo de poder. A tese pretende ser um trabalho histórico-filosófico que assume uma postura propriamente crítica, como um exercício de transformação, de mudança de nosso modo de ser, que nos permite pensar e agir diferentemente.