Here I would like to focus on three related aspects of these aesthetics, namely: 1) their constitutive hybridity; 2) their chronotopic multiplicity; and 3) their common motif of the redemption of detritus. After arguing the special qualifications of the cinema for realizing such a hybrid, multitemporal aesthetics, I will conclude with the case of the Brazilian "aesthetics of garbage" as the point of convergence of all our themes, specifically examining three films literally and figuratively "about" garbage.
"... The 1920s and 1930s ushered in an unprecedented era of travel to exotic and romantic destinations. And nowhere was this more clearly expressed than in the travel posters of that time. The Los Angeles Public Library's collection of travel posters per