Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
Setúbal, Mariana Lucas
 |
| Orientador(a): |
Rago Filho, Antonio |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em História
|
| Departamento: |
Faculdade de Ciências Sociais
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/22696
|
Resumo: |
This dissertation aims to put the lulism phenomenon into critical and historical perspective through the films A cidade é uma só? (2011) and Branco sai, preto fica (2014) by Adirley Queirós. To achieve this, I have attempted to cross data extracted from film analysis with those of the historical context in which they were made, with the objective of comprehending the expression of the result of lulism from the point of view of a director from Ceilândia – outskirts of the nation’s capital. By analyzing the films in question, it was possible to verify how lulism resulted in a paradigm shift in the political narrative and the national cinematography. This being said, my aim is to find in the phenomenon in question, combinations which, on the one hand, guaranteed his rise to power, and with this, the introduction of new historical and cinematographic characters; and on the other, forged under a mark of contradiction, lulism also activated archaic mechanisms in our social order. The racial issue is the biggest expression of this contradiction; while the rate of homicides of negroes grew by 18,2% under the Petista government (2001-2016), homicide rates of non-negroes lowered by 14,6%. Faced by these contradictions, my research aimed to identify in both films the depletion of PT’s project to solve Brazil. In a world of hybrid cinema, where the line between fiction and documentary become blurred and a testimony laced with falsehood carried immense potency, Adirley Queirós constructs an esthetic that is able to take on lulism |
