Roby, Benedita2025-07-072025-07-072024-12-132183-3869PURE: 119567003PURE UUID: be6a37be-4ce2-495f-8a58-846529b79737ORCID: /0009-0004-5027-7347/work/187480405http://hdl.handle.net/10362/184913UIDB/00417/2020 UIDP/00417/2020The reciprocity between the two practices can emerge on various levels, and since it is impossible to fully explore all of them in this article, two hypotheses will be formulated regarding the affinity between the two arts. The first chapter considers the proximity between graffiti and the cinematographic apparatus, particularly in the production of another visuality, or a counter-visuality (Mirzoeff, 2011). The next chapter analyzes the complicity between graffiti and the film medium, in the production of an alternative history (Rancière, 2009) or a counter-public sphere (Sholette, 2017).14916100engCinematographic apparatusGraffitiVisualityCounter-visualityCounter-public spherejournal article10.48619/gsa.v2i1.991https://journals.wisethorough.com/index.php/GSA/article/view/991