Dialética do sertão: reflexões em torno das peripécias de Antônio das Mortes no cinema épico de Glauber Rocha

• Ano de defesa: 2020
• Autor(a) principal: Semensato, Geisa Cristina [UNESP]
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual Paulista (Unesp)
• Palavras-chave em Português: Glauber Rocha; Bertolt Brecht; Cinema; Antônio das Mortes; O Dragão da Maldade contra o Santo Guerreiro
• Link de acesso: http://hdl.handle.net/11449/193227

The Brazilian cinema of the moviemaker Glauber Rocha (1939-1981) took place in two distinct phases: before and after the 1964 Brazilian coup d´état. The phase before 1964, which includes the films Barravento (The Turning Wind, 1961) and Deus e o Diabo na Terra do Sol (Black God, White Devil, 1964), is aesthetically and politically characterized by the same revolutionary euphoria observed in the Eztetyka da Fome (1965); the post-1964 phase, which would still be well marked by the films Terra em Transe (Entranced Earth, 1967) and O Dragão da Maldade contra o Santo Guerreiro (Antônio das Mortes, 1969), reveals what is initially called political dysphoria, translated into the cinematographic discourse and inflated with religious allegories, very perceptible in the 1969 film, as well as of the slowdown in critical discourse in the Eztetyka do Sonho (1971). Revolutionary in the use of dialectical narrative and disjunctive montage, Glauber would have used these allegories to cleverly disguise his political persecutors and as a possible form of artistic expression, while continuing to denounce, between the lines of filmic diegesis, the exploitation of the colonizer / imperialist on the poor / colonized of the Third World, even under the aftermath of Ato Institucional Número 5 (Institutional Act Number 5). Antônio das Mortes, core character in the selected films, who went from the servile henchman (jagunço) of the great land owners (coronéis) in 1964, to ally of the poor, in 1969, was carefully analyzed, since the representation in one and another film enabled us to realize that the excessive allegories previously mentioned (Glauber- after 1964), were dialectical possibilities that the director had used, especially during the harsher years (known as Years of Lead) of the military dictatorship. Antônio's change of side came through an ethical-moral catharsis. Using the same principles of formal disjunction and diegetic discontinuity advocated by Bertolt Brecht, Glauber defies the Hollywood primer that teaches making cinema— transparent and alienating— and seeking to break with naturalistic cinema— especially the American- and accusing it of being a disseminator of imperialist interests. Glauber Rocha's speech continues to throb and is updated with the needs of liberation of the oppressed of our dark "Brazilian" days. More than ever, and even after 60 years, his work remains necessary and urgent.