Abstract By the 1920s, new ideas regarding film as the seventh art disseminated in Europe had a profound effect on Brazilian literature, specifically the emergence of the avant-garde literary movement known modernismo. Charting the new theories regarding cinema as an art form, this essay examines how they were appropriated and re-elaborated by modernist writers in Brazil in the early 1920s as part of their project to redefine Brazilian letters for the twentieth century. It focuses specifically on novels and writings by Oswald de Andrade. Like other modernists, such as Mário de Andrade and Guilherme de Almeida, Oswald wrote about film in the press in the early 1900s. His interest in the moving pictures, however went further. Taking on board new film theories from Europe, Oswald incorporated cinematic techniques in his novels, reconceptualising realism for the modern age. Examining Memorias sentimentais de João Miramar (1924) and Seraphim Ponte Grande (1928) along with his manifestos, the essay looks at how Oswald’s self-conscious cinematic consumption enabled him to challenge the aura of the traditional role of Brazilian writing and of the writer and in doing so construct a new literary subjectivity, one that was inherently cinematic.

中文翻译：

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巴西现代主义与电影：奥斯瓦尔德·德·安德拉德 (Oswald de Andrade) 的电影消费

摘要 到 1920 年代，关于电影作为在欧洲传播的第七种艺术的新思想对巴西文学产生了深远的影响，特别是现代主义前卫文学运动的出现。本文描绘了将电影作为一种艺术形式的新理论，考察了 1920 年代初期巴西现代主义作家如何利用和重新阐述它们，作为他们重新定义 20 世纪巴西字母项目的一部分。它特别关注奥斯瓦尔德·德·安德拉德的小说和著作。像马里奥·德·安德拉德 (Mário de Andrade) 和吉尔赫姆·德·阿尔梅达 (Guilherme de Almeida) 等其他现代主义者一样，奥斯瓦尔德 (Oswald) 在 1900 年代初期在报刊上撰写了有关电影的文章。然而，他对电影的兴趣更进一步。奥斯瓦尔德吸收了欧洲的新电影理论，将电影技术融入他的小说中，为现代重新定义现实主义。这篇文章审视了若昂·米拉马尔的情感回忆 (1924) 和塞拉芬·庞特格兰德 (1928) 及其宣言，探讨了奥斯瓦尔德的自觉电影消费如何使他能够挑战巴西写作和作家的传统角色的光环和在这样做的过程中，构建了一种新的文学主体性，一种内在的电影性。