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Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary

Bibliographic Details
Main Author: Gama, Alessandra Regina
Publication Date: 2024
Other Authors: Sobrinho, Gilberto Alexandre, Nogueira, Lisandro
Format: Article
Language: por
Source: Revista FAMECOS: Mídia cultura e tecnologia
Download full: https://revistaseletronicas.pucrs.br/revistafamecos/article/view/45358
Summary: In this article, we address the representation of Afro-Brazilian cosmogony in documentaries, considering aesthetic and political aspects of the relationship between cinema and the terreiros. Our objective is to reflect on the issues of representation of Afro-diasporic cultures in the documentary field, intertwined with the theoretical field of cultural performances, in the formation of a crossroads aesthetic. Starting from the idea of ​​cinema as a point of intersection, as crossroads cinema, we analyze the documentary trilogy produced by the Society for the Study of Black Culture in Brazil — SECNEB, in the late 80s, composed of the films Orixá Ninu Ilê (Dir. Juana Elbein dos Santos, 1978), Iyá-Mi-Agbá (Dir. Juana Elbein dos Santos 1981) and Egungun (Dir. Carlos Brajsblat, 1982). The trilogy explores the disputes surrounding the ways of representing ancestral knowledge, reflecting, in the works, the clash between cinema and cultural decolonization, from the point of view of the relationships between body and performance, in the articulation of knowledge.  
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spelling Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentaryCine Encrucijada y filmografia SECNEB: performances y culturas negras en el documentalCinema Encruzilhada e a filmografia SECNEB: performances e culturas negras no documentáriocinemacrossroads cultural performances documentarycineencrucijadaperformances culturales documental.cinemaencruzilhadaperformances culturaisdocumentário.In this article, we address the representation of Afro-Brazilian cosmogony in documentaries, considering aesthetic and political aspects of the relationship between cinema and the terreiros. Our objective is to reflect on the issues of representation of Afro-diasporic cultures in the documentary field, intertwined with the theoretical field of cultural performances, in the formation of a crossroads aesthetic. Starting from the idea of ​​cinema as a point of intersection, as crossroads cinema, we analyze the documentary trilogy produced by the Society for the Study of Black Culture in Brazil — SECNEB, in the late 80s, composed of the films Orixá Ninu Ilê (Dir. Juana Elbein dos Santos, 1978), Iyá-Mi-Agbá (Dir. Juana Elbein dos Santos 1981) and Egungun (Dir. Carlos Brajsblat, 1982). The trilogy explores the disputes surrounding the ways of representing ancestral knowledge, reflecting, in the works, the clash between cinema and cultural decolonization, from the point of view of the relationships between body and performance, in the articulation of knowledge.  En este artículo abordamos la representación de la cosmogonía afrobrasileña en documentales, considerando aspectos estéticos y políticos de la relación entre cine y terreiros. Nuestro objetivo es reflexionar sobre las cuestiones de representación de las culturas afro diaspóricas en el campo documental, entrelazadas con el campo teórico de las performances culturales, en la formación de una encrucijada estética. A partir de la idea del cine como punto de intersección, como cine de encrucijada, analizamos la trilogía documental producida por la Sociedad para el Estudio de la Cultura Negra en Brasil — SECNEB, a finales de los años 80, compuesta por las películas Orixá Ninu Ilê (Dir. Juana Elbein dos Santos, 1978), Iyá-Mi-Agbá (Dir. Juana Elbein dos Santos 1981) y Egungun (Dir. Carlos Brajsblat, 1982). La trilogía explora las disputas en torno a las formas de representar los saberes ancestrales, reflejando, en las obras, el choque entre cine y descolonización cultural, desde el punto de vista de las relaciones entre cuerpo y performance, en la articulación de saberes.  Neste artigo, abordamos a representação da cosmogonia afro-brasileira em documentários, considerando aspectos estéticos e políticos da relação entre o cinema e os terreiros. Nosso objetivo é refletir sobre as questões de representação das culturas afro diaspóricas no campo documental,  entrelaçadas ao campo teórico das performances culturais, na conformação de uma estética de encruzilhada. Partindo da ideia de cinema como um ponto de intersecção, como cinema de encruzilhada, analisamos a trilogia documental produzida pela Sociedade de Estudos da Cultura Negra no Brasil — SECNEB, no final dos anos 80, composta pelos filmes Orixá Ninu Ilê (Dir. Juana Elbein dos Santos, 1978), Iyá-Mi-Agbá (Dir. Juana Elbein dos Santos 1981) e Egungun (Dir. Carlos Brajsblat, 1982). A trilogia explora as disputas em torno dos modos de representação do conhecimento ancestral, refletindo, nas obras, o embate entre cinema e descolonização cultural, do ponto de vista das relações entre corpo e performance, na articulação de saberes.     Editora da PUCRS - ediPUCRS2024-11-05info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistaseletronicas.pucrs.br/revistafamecos/article/view/4535810.15448/1980-3729.2024.1.45358Revista FAMECOS; Vol. 31 No. 1 (2024): Single Volume - Continuous flow; e45358Revista FAMECOS; Vol. 31 Núm. 1 (2024): Volumen Único - Flujo continuo; e45358Revista FAMECOS; v. 31 n. 1 (2024): Volume único - Fluxo contínuo; e453581980-37291415-0549reponame:Revista FAMECOS: Mídia cultura e tecnologiainstname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSporhttps://revistaseletronicas.pucrs.br/revistafamecos/article/view/45358/28769Copyright (c) 2024 Revista FAMECOShttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessGama, Alessandra ReginaSobrinho, Gilberto AlexandreNogueira, Lisandro2024-11-05T16:39:04Zoai:ojs.revistaseletronicas.pucrs.br:article/45358Revistahttps://revistaseletronicas.pucrs.br/ojs/index.php/revistafamecosPRIhttps://revistaseletronicas.pucrs.br/ojs/index.php/revistafamecos/oai||revistafamecos@gmail.com1980-37291980-3729opendoar:2024-11-05T16:39:04Revista FAMECOS: Mídia cultura e tecnologia - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false
dc.title.none.fl_str_mv Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
Cine Encrucijada y filmografia SECNEB: performances y culturas negras en el documental
Cinema Encruzilhada e a filmografia SECNEB: performances e culturas negras no documentário
title Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
spellingShingle Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
Gama, Alessandra Regina
cinema
crossroads
cultural performances
documentary
cine
encrucijada
performances culturales
documental.
cinema
encruzilhada
performances culturais
documentário.
title_short Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
title_full Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
title_fullStr Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
title_full_unstemmed Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
title_sort Cinema Encruzilhada and SECNEB Filmography: performances and black cultures in the documentary
author Gama, Alessandra Regina
author_facet Gama, Alessandra Regina
Sobrinho, Gilberto Alexandre
Nogueira, Lisandro
author_role author
author2 Sobrinho, Gilberto Alexandre
Nogueira, Lisandro
author2_role author
author
dc.contributor.author.fl_str_mv Gama, Alessandra Regina
Sobrinho, Gilberto Alexandre
Nogueira, Lisandro
dc.subject.por.fl_str_mv cinema
crossroads
cultural performances
documentary
cine
encrucijada
performances culturales
documental.
cinema
encruzilhada
performances culturais
documentário.
topic cinema
crossroads
cultural performances
documentary
cine
encrucijada
performances culturales
documental.
cinema
encruzilhada
performances culturais
documentário.
description In this article, we address the representation of Afro-Brazilian cosmogony in documentaries, considering aesthetic and political aspects of the relationship between cinema and the terreiros. Our objective is to reflect on the issues of representation of Afro-diasporic cultures in the documentary field, intertwined with the theoretical field of cultural performances, in the formation of a crossroads aesthetic. Starting from the idea of ​​cinema as a point of intersection, as crossroads cinema, we analyze the documentary trilogy produced by the Society for the Study of Black Culture in Brazil — SECNEB, in the late 80s, composed of the films Orixá Ninu Ilê (Dir. Juana Elbein dos Santos, 1978), Iyá-Mi-Agbá (Dir. Juana Elbein dos Santos 1981) and Egungun (Dir. Carlos Brajsblat, 1982). The trilogy explores the disputes surrounding the ways of representing ancestral knowledge, reflecting, in the works, the clash between cinema and cultural decolonization, from the point of view of the relationships between body and performance, in the articulation of knowledge.  
publishDate 2024
dc.date.none.fl_str_mv 2024-11-05
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistaseletronicas.pucrs.br/revistafamecos/article/view/45358
10.15448/1980-3729.2024.1.45358
url https://revistaseletronicas.pucrs.br/revistafamecos/article/view/45358
identifier_str_mv 10.15448/1980-3729.2024.1.45358
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistaseletronicas.pucrs.br/revistafamecos/article/view/45358/28769
dc.rights.driver.fl_str_mv Copyright (c) 2024 Revista FAMECOS
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2024 Revista FAMECOS
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
dc.source.none.fl_str_mv Revista FAMECOS; Vol. 31 No. 1 (2024): Single Volume - Continuous flow; e45358
Revista FAMECOS; Vol. 31 Núm. 1 (2024): Volumen Único - Flujo continuo; e45358
Revista FAMECOS; v. 31 n. 1 (2024): Volume único - Fluxo contínuo; e45358
1980-3729
1415-0549
reponame:Revista FAMECOS: Mídia cultura e tecnologia
instname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron:PUC_RS
instname_str Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron_str PUC_RS
institution PUC_RS
reponame_str Revista FAMECOS: Mídia cultura e tecnologia
collection Revista FAMECOS: Mídia cultura e tecnologia
repository.name.fl_str_mv Revista FAMECOS: Mídia cultura e tecnologia - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
repository.mail.fl_str_mv ||revistafamecos@gmail.com
_version_ 1837376267720065024

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