Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
AGUIAR, Antônio Barros de
 |
| Orientador(a): |
AZEVEDO, Natanael Duarte de |
| Banca de defesa: |
SANTOS, Maria Emília Vasconcelos dos,
FELDHUES, Paulo Raphael Pires |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal Rural de Pernambuco
|
| Programa de Pós-Graduação: |
Programa de Pós-Graduação em História
|
| Departamento: |
Departamento de História
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/8454
|
Resumo: |
The dissertation aims to use the films Orfeu Negro (1959), by Marcel Camus, and Ganga Zumba (1963), by Carlos Diegues, as didactic tools in the teaching of Afro-Brazilian History and Culture under Law 10.639 / 2003, in order to provide possible methodologies for working them in the classroom. To this end, we trace the trajectory of black people in Brazilian cinema, focusing on the Chanchadas of Atlantis and the first phase of Cinema Novo (1960-1964) from the theoretical and methodological contributions of Carolinne da Silva (2017), Edileuza de Souza ( 2013), Francisco Santiago Junior (2013), João Carlos Rodrigues (2001), Noel dos Santos Carvalho (2005; 2011) and Robert Stam (2008). We resumed the discussions about cinema and its relationship with history, drawing on the theoretical and methodological contributions of Marc Ferro (1976; 1992), Pierre Sorlin (1977) and Robert Rosentone (2010). The idea is to break with the traditional perspective of conceiving films as an illustration of historical school content or entertainment in order to work with these historical documents cautiously and critically. In this sense, we use semiotics not only to know the elements that make up Orfeu Negro and Ganga Zumba, but also to understand the construction of representations about the Brazilian black. Thus, appropriating films and putting them at the service of teaching Afro-Brazilian history and culture is a challenge that requires us to deepen our knowledge of the specificities of film language, its aesthetic, social and cultural dimensions, of its limits and possibilities. |
