Entre heróis e marginais nos brasis de Macunaíma (1969) e Orgia ou o homem que deu cria (1970)
Gorde:
| Egile nagusia: | |
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| Argitaratze data: | 2021 |
| Formatua: | Master thesis |
| Hizkuntza: | por |
| Baliabidea: | Repositório Institucional da UPF |
| Download full: | https://repositorio.upf.br/handle/123456789/3490 |
Gaia: | This paper discusses the representations of Brazil and Brazilians present in the films Macunaíma, by Joaquim Pedro de Andrade (1969), and Orgia ou o homem que deu cria, by João Silvério Trevisan (1970), establishing some counterpoints with the book Macunaíma, by Mário de Andrade (1928). As Marcos Napolitano would say, using films as historical sources makes us perceive them as representatives of the reality in which they are inserted (2005, p. 236). In this sense, the objective is to analyze the political and social perceptions of the directors, expressed in the aforementioned productions. Inserted in the historical context of the Military Dictatorship, the films dialogue with the repressive and violent environment of their creations, in addition to the political, social and cultural changes that the country was experiencing. Thus, in a first moment, we focus on this period of Brazilian history, presenting together the cultural movements that were the aesthetic motto of the productions: Cinema Novo, Tropicalismo and Cinema Marginal. In a second moment, our focus is on the construction of representations of Brazilians present in cinematographic works, with their similarities and disparities, which were given by metaphors such as walking, death and the marginality of the characters. In the last two chapters, we delve into our sources in order to understand them based on their narratives, which are similar to anthropophagy, walking through the world, aggressiveness (imagery and sound), birth and death, interpreted from a historical and psychological perspective, based on the writings of Sigmund Freud. The films are representatives of the cinematographic movements in which their directors participated: Tropicalist Cinema and Marginal Cinema, respectively, and our work proposal is to interpret and understand the films in order to highlight narrative encounters and disagreements that unfold from birth, walking, eating and dying that present themselves in greater meaning than their common use, serving today to help us understand aspects of what the period of the Military Dictatorship was like, especially in the sociopolitical sphere. |