Cinema e memória da ditadura civil-militar no Brasil: uma análise dos filmes Pra frente Brasil (1982) e Ação entre amigos (1998)

• Ano de defesa: 2013
• Autor(a) principal: Novais, Adriana Rodrigues
• Orientador(a): Pellegrini, Tânia
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Carlos
• Programa de Pós-Graduação: Programa de Pós-Graduação em Sociologia - PPGS
• País: BR
• Palavras-chave em Português: Sociologia; Cinema; Memória; Ditadura civilmilitar; Pra frente Brasil (Filme); Ação entre amigos (Filme); Trauma; Ressentimento
• Palavras-chave em Inglês: Cinema; Memory; civil-military dictatorship; Trauma; Resentment
• Área do conhecimento CNPq: CIENCIAS HUMANAS::SOCIOLOGIA
• Link de acesso: https://repositorio.ufscar.br/handle/20.500.14289/6754

The present research focuses on the question of memory and representation of the Brazilian civil-military dictatorship through the analysis of two films, Pra Frente Brasil (1982) [Go further Brazil] and Ação Entre Amigos [Action between friends] (1998), which explore this period of national history. Our goal was to understand the contributions and limits of these two pieces of cinematographic work as bearers of civil military dictatorship memories. So, we examine how the civil-military dictatorship comes to the scene in the mentioned pictures, relating them to their own production context. We take as presupposition the fact that films are bearers of meanings that allow us to understand the relation between human beings and their historical time. For that we take as our own the Pilar Calveiros s conception of memory and, trying to comprehend the relation between cinema, memory and society, we found our theory on Walter Benjamin s theoretical and methodological referential, as on his conception of History. This author proposes, by the way, that we may think on the cinema s political function. To investigate the relation between art work and society we use Tania Pelegrini s concept of refraction and the Pierre Sorlin s conception of representation. At last, we found on the trauma and resentment concepts, willing to comprehend how cinema represents the relation between the dictatorial past with the present.