A crítica da ideologia no cinema brasileiro: desengano, pragmatismo, cinismo

• Ano de defesa: 2010
• Autor(a) principal: OLIVEIRA, Rodrigo Cássio
• Orientador(a): NOGUEIRA, Lisandro Magalhães
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Mestrado em Comunicação
• Departamento: Ciências Sociais Aplicadas
• País: BR
• Palavras-chave em Português: Cinema Novo; Ideologia; Cinema Brasileiro; Teoria Crítica da Sociedade; Cinismo
• Palavras-chave em Inglês: New Brazilian Cinema; Ideology; Brazilian Cinema; Critical Theory of the Society; Cynicism
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tde/1418

In the 1960 s, the New Brazilian Cinema questioned the import of the production model of the classic narrative movies. The rejection of the classical conventions accompanied the statement of an ideological fight against the status quo. In relationship with the nationalist left, the films thought about the critical intervention in the society. When begin the military government (1964), against the expectations of the left, the aesthetic-political project of the New Cinema have a decisive reversion. This moment is a cause of the 'disappointment films'. They revised the purposes and the difficulty of a criticism of the ideology: the conservative modernization would found the late capitalism in the Brazilian society. This work analyzes two films of the recent Brazilian cinema, O Príncipe (Ugo Giorgetti, 2002) and Cronicamente Inviável (Sérgio Bianchi, 1999), and relate them to the moment of the 'disappointment'. Reflecting the present conditions of the Brazilian social experience, the two films expose the criticism of the ideology in face of new problems: the exhausting control of the cultural industry and the cynicism of the contemporary ideology. The films discourse about the transformation of the criticism of the ideology in the Brazilian movies between the 1960's and the recent decades. Step by step, the rejection of the dominant conventions, affirmed by the New Cinema, find new conditions in the analysis of each one of the films