| Resumo: |
This research intends to comprehend in which way the Swedish director Roy Anderson's work, specially his Living Trilogy and, in particular, the movie A Pigeon Sat On Branch Reflecting on Existence , functions as a political assertion in opposition to the totalitarian movements in Sweden, and all over the world. Therefore, Andersson's biography will be elaborated from the point of view of his relationship with art, cinemaandpolitics,relyingon various researchers for it. Andersson will also be confronted by the referencesinArtHistory and in Philosophy, he used in order to build his own aesthetics, called The Language of Complex Image , an aesthetic theory set upon the director's socio-political concerns as aform of resistance to the deterioration of the currentstageof SwedenSocialDemocracy,aprocess that finds its echoes all around the world. Roy Andersson's work will also dialogue with Theodor Adorno, Walter Benjamin, MartinBuberandMariaRitaKhel,whotriedtodiagnose the evils of contemporary society and its relationships with totalitarianism. Finally, we will reflect about the modernist avant-gardes' influences on the director, and also about the challenges faced by Andersson in coming to terms with the affiliations between art, politics and the market |
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