Glauber como Vidraça Trincada: consonâncias, dissonâncias e antagonismos estéticos-políticos no Cinema Novo Glauberiano

• Ano de defesa: 2021
• Autor(a) principal: Borges, Ítalo Nelli
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em História
• Palavras-chave em Português: Glauber Rocha; Recepção; Reception; Memória histórica; Historical memory; História do cinema brasileiro; History of Brazilian cinema; Cinema novo; CNPQ::CIENCIAS HUMANAS::HISTORIA::HISTORIA MODERNA E CONTEMPORANEA; História; Cinema Novo; Cinema brasileiro - História e crítica; Memória - História
• Link de acesso: https://repositorio.ufu.br/handle/123456789/34280; http://doi.org/10.14393/ufu.te.2021.5553

Seeking to build a historical look at the reception of specialized critics in relation to Glauber Rocha's texts and films made in the 1960’s, this thesis focuses on identifying and comparatively analyzing the diversity of consonant, dissonant and antagonistic discourses to the filmmaker, privileging the definitions of modern Brazilian cinema as the main interpretive parameter of the sources. In this sense, we focused on the reception of four products made by Glauber Rocha; Barravento (1962), Critical Review of Brazilian Cinema (1963), Deus eo Diabo na Terra do Sol (1964) and Terra em Transe (1967). The emphasis on receptive perspectives contrary to the filmmaker's aesthetic­political proposals aims to contribute to the construction of a historical interpretation against the artist's direct consecration proposes an understanding of the difficulties encountered by Glauber Rocha to assert himself as a leading figure of Brazilian cinema in the 1960’s that are not normally addressed by specialist historiography.