kino06_eng.indd by Revista Kino

Editorial Year is the time Earth goes around the star that makes our days hotter. Some people like it. Some people calls it Sun. Some other prefers less polites nicknames. A year is enough to bring a human to light. Another year is needed to he stands up and starts to speak. Less than a year, they say, is possible learn a foreign language and be fluently as a native. Would you believe it? A long time ago, during the 365 days, there were four climatic resorts. Spring, Summer, Fall and Winter. Nowadays, it’s not that way. They can come together at the same day, as one of them can simply desapear. There are cities that only know what Winter is by newspaper. One year, six editions. David Fincher, Hitchcock, Scorsese, Ton Tikwer, Almodóvar and now, Birthday. One Kino year. This editon we change the popcorn to candies.

Editor: Renato Loose Cover: Lorena Alvarez

Sections Woosta

Karla Monteiro de Moraes

Marianna Rosa

Adele Bullwinkel Adolfo Serra, Cinzia Bruschini Eddie D. Marcelo Carreiro Marcos Carneiro Mario Sughi Lena Gobbo Lese Pierre

Inspired Interviews Inform and inspire by digging down to shed some light on artists in their respected industries. That is the Woosta goal. The mag wants to know who they are, how they got there and what really pushes them to thrive in the arts. They are dedicated to inspiring those around them. That is a good idea for people who like researches, a very nice habit and a way to upgrade the knowledge. Woosta www.woosta.com

Trailer is a place to divulge another magazines.

Cover

Lorena Alvarez Delicate but defined lines. Harmonic colorful works. This is part of the visual created by the Colombian illustrator Lorena Alvarez, at work since 2004. Her mainly references are the Mangás and Disney esthetics. “I’m interested in Art Noveau, Japanese Art and fashion illustration. Also, the artwork of many Colombian illustrators such as Wilson Borja and Henry González has influenced not only my own illustrations, but also the way I see this job”, she says.

She is part of a traveling exhibition named “Salsa Pa’vé”. “It has given me the opportunity to know other artists’ experience and take my illustrations to many different places from established museums and libraries to Salsa music bars in Colombia”. Lorena still consider herself as a beginner and thinks important realize never stop learning. A good illustrator researches, tries new things in order to construct his own identity. We shouldn’t think that we have reached our highest point in some moment of our career, there are always new things to create, new ways to work and reinvent ourselves”, concludes.

www.lorenaalvarez.com www.flickr.com/photos/lorena_alvarez

www.wilsonborja.com www.henrygonzalezilustrador.com

www.lorenaalvarez.com | www.flickr.com/photos/lorena_alvarez

Of a side, sound, image and movement. Of the other, somebody that testifies and waits. Waits for the end of film and what it reserves. Waits for catharsis or to contain it. And while lasts this wait, short as a dream, ideas and memories flashs, like scene of cinema.

An art, many ways

Then, movies arenâ&#x20AC;&#x2122;t just to wait. Itâ&#x20AC;&#x2122;s an inert beats of wings. Despite imprisoned on the chair, we try the each time rarer sensation of freedom. Tears and laughs breach, free. And if we gather in return one or another of these things, ours things, that escape, and we arrest them in the paper, we have magazines as Kino. For a year, it has been registering, from words or images, something that films talk to us, and a little we would like to say about them or for them. In show window What someone has to say on something is only. The film that I see is just mine. When I interpret it, I do a remake from my experiences and beliefs. Each reading is solitarily unique. But when we display this interpretation, either in text or image, we pass from an egoistic exercise to a collective activity. To display is to wait reply. As store clerks, we rest our products in a shelf, wishing that who looks says yes, or perhaps. The fear of a no is surpassed by the pleasure of interference. When we express something on cinema, we start to be co-authors, to intervene in work of art, in measure we influence what somebody can come to think about it. Even if that person doesnâ&#x20AC;&#x2122;t buy our idea.

Inversion

If this interference is made through text, photograph or design, we invert a cinema proper cycle. It can seem strange to say this, but we came from the product, film, and go to its raw materials: word and static image. And there, in the base of everything, we have new work of art, equally complex - trace and letter. If seventh art gave movement to images captured by camera, photograph and design makes inverse way: they catch and congeal again the madness of the screen. In similar way, when transforming cinema into alphabet, we come back to the cinematographic skeleton - words, script. Unity When we think about it, we realize that each form of expression – language, image, movement and everything else – is part of a joined universe called art. We can’t segregate them, despite we try it, sometimes. They always shout for a place where they’re, again, in unit. Therefore, it’s excellent to talk about cinema with phrases and images. I wait that, after this first Kino’s year, many are for coming. And that ink, color, letter and feeling continue coexisting in this open space for what somebody thinks about seventh, and perhaps the most absurdly insane art. I finish this text, and not even became manifest my preferred film. I did it because Loose, director of magazine, guaranteed that the work of art will be subject of an edition this year. I take advantage to say that I’ll require. Karla Monteiro de Moraes is journalist, graduated at History, and Social Communication professor at Espírito Santo Federal University (Ufes-Brazil). karlademoraes@gmail.com

Ilustrations: R Renato Loose

Marianna Rosa is a journalist who loves photography. She catches pretty moments, sometimes, very personals, inspired by Almodóvar and Nelson Rodrigues, with a little bit of Paul Thomas Anderson. Subjective, she uses pastel colors and, after that, magenta and deep blue in your digital resources, that always has something about a vintage bittersweet feeling. This editon, Marianna chooses five of your favorite movies – Marie Antoinette, Sex and Lucia, Swimming Pool, Eternal Sunshine of a Spotless Mind and Amélie Poulain - that mixed with her music set, show us a little of her “life as it is” photography style.

Soundtrack ia a section filled by art and music list made by a special guest.

Ilustrações: Ilustrações: Ilustrações: Ilustrações: Renato Renato Renato RenatoLoose Loose Loose Loose

Trend - Mediengruppe Telekommander Get It On - T-Rex www.flickr.com/photos/colorsbleed

I love to Boogie - T-Rex London Calling - The Clash www.flickr.com/photos/colorsbleed

Light & Day - The Polyphonic Spree Woo Hoo - The 5.6.7.8â&#x20AC;&#x2122;s www.flickr.com/photos/colorsbleed

Dry The Rain - The Beta Band I Want Candy (Kevin Shields Remix) - Bow Wow Wow www.flickr.com/photos/colorsbleed

What Ever Happened - The Strokes ThatÂ´s Entertainment - The Jam www.flickr.com/photos/colorsbleed

Marcos Carneiro - Brazil - mco25@pop.com.br Mad Max

Eddie D. - England - eddiemadie@yahoo.com Clockwork Orange

Marcelo Carreiro - Brazil - mrcarreiro@gmail.com Bride of Frankenstein

Mario Sughi - Ireland - www.nerosunero.org Tess

Adele Bullwinkel - Germany - adelesusse@yahoo.de Eternal Sunshine of the Spotless Mind

Lese Pierre - Brazil - www.lesepierre.multiply.com Transformers

Lena Gobbo - Italy - gobbotutti@hotmail.com Le Fabuleux Destin dâ&#x20AC;&#x2122;AmĂŠlie Poulain

Cinzia Bruschini - Italy - www.myspace.com/lagonnaspaziosa Tideland

Adolfo Serra - Spain - www.karkoma.com The Science of Sleep

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deadline: november 20th