Abstract
The article engages a comparative analysis of two films considered global landmarks of the “peripheral” interwar avantgarde, whose paths display many common aspects: Limite, by Mário Peixoto (1931), and A Page of Madness, by Kinugasa Teinosuke (1929). We argue for a post-colonial reading of film-phenomenology, focusing on their materiality and the ways in which they show the very filmic apparatus. Starting from the discourses that constituted the local fascination with the films as exemplary of a modern and universal perceptual regime, we argue that through their very material constitution, the films put forth a counter-(geo)politics of time inherent to the corporeal dimension of filmic perception.
Keywords
peripheral modernisms; Limite; A Page of Madness; film-phenomenology; universality
