Founded within the context of the Brazilian military dictatorship, the film company Belair was one of the most radical attempts to cultivate a cinema in the spirit of Tropicalism: its works are distinguished by parodies of genre filmmaking, a carnivalesque celebration of the body, and a profound investment in subversive politics. Led by filmmakers Rogerio Sganzerla and Julio Bressane and actress Helena Ignez, Belair produced 6 films between January and March 1970, when the team was forced into exile. 'A Familia do Barulho' ('The Family of Disorder'), directed by Bressane, contains one of the most striking sequences in all of Belair’s productions. Its portrait of a nuclear family in constant tension ends up with the three main characters looking straight into the camera and suffering in front of an unknown, invisible danger: a young man has a wound on his face; another covers his face with his hands in a liminal state; and a woman, played by Ignez, vomits a bloody slobber. Following Brigitte Peucker’s exploration of the relationship between cinema’s impurity, stillness and the cinematic body, as well as Raymond Bellour’s analysis of some dispositifs that anticipated the movement of cinema from the immobility of death, I will argue that these images exist in a territory between different media, and between life and death: they are intersections of the liberating dynamism of cinema and the enforced stillness of photography, which evokes police mugshots, the menace of firing squads, and the ghostly quality of wax figures. I will focus particularly on the case of Helena Ignez and her bloody mouth, which chime with the tropicalist exploration of the grotesque and the intermedial quality of the cinematic body.

中文翻译：

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在电影和摄影之间：混乱家族中的血泡

Belair 电影公司成立于巴西军事独裁的背景下，是本着热带主义精神培育电影的最激进尝试之一：其作品以模仿类型电影制作、对身体的狂欢节庆祝以及对颠覆性政治的深刻投资。在电影制片人 Rogerio Sganzerla 和 Julio Bressane 以及女演员 Helena Ignez 的带领下，Belair 在 1970 年 1 月至 3 月期间制作了 6 部电影，当时该团队被迫流亡。由 Bressane 执导的“A Familia do Barulho”（“家庭混乱”）包含了 Belair 所有作品中最引人注目的片段之一。它描绘了一个处于持续紧张状态的核心家庭，最终三个主要角色直视镜头，并在一个未知的、看不见的危险面前受苦：一个年轻人脸上有伤口；另一个在阈限状态下用手捂住脸；一个女人，由伊格内斯扮演，吐出一口血腥的口水。继 Brigitte Peucker 对电影的不纯性、静止和电影身体之间关系的探索，以及 Raymond Bellour 对一些预测电影从死亡的静止中运动的倾向的分析之后，我将论证这些图像存在于不同的领域之间。媒体，以及生与死之间：它们是电影的解放活力和摄影的强制静止的交叉点，它唤起了警察的面部照片、行刑队的威胁以及蜡像的幽灵般的品质。我将特别关注 Helena Ignez 和她血腥的嘴巴的情况，