Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34182
Vinícius Piassi
this analysis starts from the void opened by the loss of loved ones during the Brazilian military dictatorship by ex-prisoners and persecuted politicians and relatives of dead and disappeared, to sketch an understanding of the elaboration of authoritarian memory by the art of cinema memory. The discussion about the theme is based on his approach in two productions of contemporary national cinema, the films Hoje (2011) and Trago Comigo (2016), by the Sao Paulo filmmaker Tata Amaral. In these works, the distance between the dictatorial past and the democratic present is suppressed by the prolongation of the traumas caused by torture and the suffering caused by the disappearance and death of people in the daily lives of those who survived these experiences.
{"title":"Hoje (2011) e Trago Comigo (2016)","authors":"Vinícius Piassi","doi":"10.26512/EMTEMPOS.V1I37.34182","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34182","url":null,"abstract":"this analysis starts from the void opened by the loss of loved ones during the Brazilian military dictatorship by ex-prisoners and persecuted politicians and relatives of dead and disappeared, to sketch an understanding of the elaboration of authoritarian memory by the art of cinema memory. The discussion about the theme is based on his approach in two productions of contemporary national cinema, the films Hoje (2011) and Trago Comigo (2016), by the Sao Paulo filmmaker Tata Amaral. In these works, the distance between the dictatorial past and the democratic present is suppressed by the prolongation of the traumas caused by torture and the suffering caused by the disappearance and death of people in the daily lives of those who survived these experiences.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45653747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/emtempos.v1i37.34062
Marianne Lopes Braga Batista
A temática do episódio White Bear, que pertence à série televisiva Black Mirror, possibilita colocar em perspectiva a relação entre justiça e violência, tendo também como parâmetro os limites éticos dessa associação. A constante presença e uso da violência no enredo nos permite analisar a centralidade desse elemento na produção e pensar sobre possíveis reverberações e diálogos dessa recriação com a realidade. Por fim, o estudo do contexto de produção, montagem, divulgação e recepção do capítulo evidencia outra faceta da articulação entre os elementos mídia, justiça e violência, que está relacionada à s possibilidades de decodificação do episódio pelo público.
{"title":"violência como espetáculo","authors":"Marianne Lopes Braga Batista","doi":"10.26512/emtempos.v1i37.34062","DOIUrl":"https://doi.org/10.26512/emtempos.v1i37.34062","url":null,"abstract":"A temática do episódio White Bear, que pertence à série televisiva Black Mirror, possibilita colocar em perspectiva a relação entre justiça e violência, tendo também como parâmetro os limites éticos dessa associação. A constante presença e uso da violência no enredo nos permite analisar a centralidade desse elemento na produção e pensar sobre possíveis reverberações e diálogos dessa recriação com a realidade. Por fim, o estudo do contexto de produção, montagem, divulgação e recepção do capítulo evidencia outra faceta da articulação entre os elementos mídia, justiça e violência, que está relacionada à s possibilidades de decodificação do episódio pelo público.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69356624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.33701
Andrei Chirilã
This paper aims to understand the importance of the documentary Dzi Croquettes (2009) as a tool to rescue a marginalized memory in the historiography about counterculture in the decade of 1970, focusing to highlight not only his role as a element that withdraw the theater group that names the film, but also how this recovery process takes form. Thus, aiming to take in account not only the memory and the personal dimension acts as cornerstones in the narrative, but also how they affect the way they are transmitted to the public, highlighting the documentary position between a position of recovery and idealization and apprehend how certain aspects are ignored to monumentalize the past focused on the viewers’ perception.
{"title":"documentário Dzi Croquettes (2009) e a construção de uma memória marginal, do subterrâneo e do esquecimento sobre a contracultura na ditadura civil-militar no Brasil","authors":"Andrei Chirilã","doi":"10.26512/EMTEMPOS.V1I37.33701","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.33701","url":null,"abstract":"This paper aims to understand the importance of the documentary Dzi Croquettes (2009) as a tool to rescue a marginalized memory in the historiography about counterculture in the decade of 1970, focusing to highlight not only his role as a element that withdraw the theater group that names the film, but also how this recovery process takes form. Thus, aiming to take in account not only the memory and the personal dimension acts as cornerstones in the narrative, but also how they affect the way they are transmitted to the public, highlighting the documentary position between a position of recovery and idealization and apprehend how certain aspects are ignored to monumentalize the past focused on the viewers’ perception.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48235903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34190
V. Serafim, G. Vieira
History and cinema, in their own and specific ways, construct and narrate representations, views, discourses, and images about an event, a context, a reality, another. Therefore, approaching narratives in both spheres allows us to think about what interpretations their producers propose to build. Given this, in this work, we intend to relate the practices of documentary cinema and history, based on the concepts of “alterity” and “sensitivity”, discussed by the authors Sandra Pesavento and Francois Hartog. To this end, we analyzed the Brazilian documentary Santo forte (1999), by Eduardo Coutinho, showing how, in his cinema, the director builds a sensitive listening and rhetoric of alterity, which allows us to understand the other from the experiences and narratives of different historical subjects.
{"title":"Filmar é escutar","authors":"V. Serafim, G. Vieira","doi":"10.26512/EMTEMPOS.V1I37.34190","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34190","url":null,"abstract":"History and cinema, in their own and specific ways, construct and narrate representations, views, discourses, and images about an event, a context, a reality, another. Therefore, approaching narratives in both spheres allows us to think about what interpretations their producers propose to build. Given this, in this work, we intend to relate the practices of documentary cinema and history, based on the concepts of “alterity” and “sensitivity”, discussed by the authors Sandra Pesavento and Francois Hartog. To this end, we analyzed the Brazilian documentary Santo forte (1999), by Eduardo Coutinho, showing how, in his cinema, the director builds a sensitive listening and rhetoric of alterity, which allows us to understand the other from the experiences and narratives of different historical subjects.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47864669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.33947
Renata Santos Maia, F. Oliveira
A feitura de um filme envolve aspectos que ultrapassam a obra em si. Por isso, é pertinente esmiuçar as questões que fazem parte da sua elaboração antes e além do produto acabado. As relações econômicas e o funcionamento do mercado audiovisual são algumas dessas particularidades que interferem diretamente na forma como as obras cinematográficas vão circular e ter alcance de público dentro e fora do seu país de origem. Os filmes, além de produtos artísticos e culturais, são também produtos industriais inseridos em uma lógica de mercado com regras, limitações e interesses econômicos. Os desafios desse processo e a disputa desigual travada ente o cinema da América Latina e a indústria de Hollywood estão entre os temas pontuados neste artigo.
{"title":"Antes e além das telas","authors":"Renata Santos Maia, F. Oliveira","doi":"10.26512/EMTEMPOS.V1I37.33947","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.33947","url":null,"abstract":"A feitura de um filme envolve aspectos que ultrapassam a obra em si. Por isso, é pertinente esmiuçar as questões que fazem parte da sua elaboração antes e além do produto acabado. As relações econômicas e o funcionamento do mercado audiovisual são algumas dessas particularidades que interferem diretamente na forma como as obras cinematográficas vão circular e ter alcance de público dentro e fora do seu país de origem. Os filmes, além de produtos artísticos e culturais, são também produtos industriais inseridos em uma lógica de mercado com regras, limitações e interesses econômicos. Os desafios desse processo e a disputa desigual travada ente o cinema da América Latina e a indústria de Hollywood estão entre os temas pontuados neste artigo.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46797557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/emtempos.v1i37.35414
Artur Nogueira Santos e Costa
{"title":"Editorial","authors":"Artur Nogueira Santos e Costa","doi":"10.26512/emtempos.v1i37.35414","DOIUrl":"https://doi.org/10.26512/emtempos.v1i37.35414","url":null,"abstract":"","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45311078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.33346
Marcelo Fidelis Kockel
We intend to observe how the film Cinema aspirinas e urubus (2005), by director Marcelo Gomes, works as a device for thinking about history and the sertao as a multiplicity in progress, something that goes beyond a “representation” and a “real” referent, forming a complex and chaotic tangle that branches into different discourses. Thus, when analyzing the film, we do not want to cement an answer, a certainty or a definitive truth, but rather to establish intertextualities, to suggest new questions and put a thought in motion, making it seductive, provocative and debatable among historians, in order to enhance their knowledge and seek more critical and creative paths in relation to the current impasses of historiographical production.
我们打算观察导演马塞洛·戈麦斯(Marcelo Gomes) 2005年的电影《Cinema aspirinas e urubus》(Cinema aspirinas e urubus, 2005)如何作为一种工具，将历史和sertao视为一种进步中的多样性，一种超越“表象”和“真实”所指的东西，形成一个复杂而混乱的纠结，分支成不同的话语。因此，在分析这部电影时，我们并不想要巩固一个答案，一个确定性或一个明确的真相，而是要建立互文性，提出新的问题，并将一种思想置于运动中，使其在历史学家中具有诱惑性、挑衅性和可辩论性，以增强他们的知识，并寻求与当前历史编纂的僵局有关的更具批判性和创造性的路径。
{"title":"História, sertão e devir-sensível em Cinema aspirinas e urubus","authors":"Marcelo Fidelis Kockel","doi":"10.26512/EMTEMPOS.V1I37.33346","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.33346","url":null,"abstract":"We intend to observe how the film Cinema aspirinas e urubus (2005), by director Marcelo Gomes, works as a device for thinking about history and the sertao as a multiplicity in progress, something that goes beyond a “representation” and a “real” referent, forming a complex and chaotic tangle that branches into different discourses. Thus, when analyzing the film, we do not want to cement an answer, a certainty or a definitive truth, but rather to establish intertextualities, to suggest new questions and put a thought in motion, making it seductive, provocative and debatable among historians, in order to enhance their knowledge and seek more critical and creative paths in relation to the current impasses of historiographical production.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46491277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34001
Rebecca Ferreira Dias
This article aims to identify the representations of communism in the portuguease film The May Revolution, directed by Antonio Lopes Ribeiro - the regime cineasta- and dropped in 1937. Directly financed by the National Propaganda Secretary (SPN) in commemoration of ten years of the May 28,1926 revolution that established the military dictatorship, the film was one of only two propaganda films produced by the regime. The May Revolution tells a history about Cesar Valente, portuguease and communist who came back to Portugal clandestinely in order to realize a revolution. Although, when finding improvements made by the New State, the protagonist becomes an adept of the regime and the comunist ideas are finally defeated.
{"title":"Perseguidos pela Nação, exaltados pelo Cinema","authors":"Rebecca Ferreira Dias","doi":"10.26512/EMTEMPOS.V1I37.34001","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34001","url":null,"abstract":"This article aims to identify the representations of communism in the portuguease film The May Revolution, directed by Antonio Lopes Ribeiro - the regime cineasta- and dropped in 1937. Directly financed by the National Propaganda Secretary (SPN) in commemoration of ten years of the May 28,1926 revolution that established the military dictatorship, the film was one of only two propaganda films produced by the regime. The May Revolution tells a history about Cesar Valente, portuguease and communist who came back to Portugal clandestinely in order to realize a revolution. Although, when finding improvements made by the New State, the protagonist becomes an adept of the regime and the comunist ideas are finally defeated.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42416771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.31046
Alisson Oliveira Soares de Santana, Luís Vitor Castro Júnior
This article proposes to analyze and discuss the short film “Um Crime na Rua” (1955), by Olney Sao Paulo. To this end, it sought to comprehend the filmic narrative, through the Body-City interaction and think about the experiences as well as the body expressions presents in the urban space. The 1955 production, recorded in the surrounds of the city center of Feira de Santana, Bahia, is one of the most important historical records of the city's visual memory when registering the movement of its urban life. The film makes it possible to relate reflections on the functions and particularities that the bodies enunciate in the urban landscapes underlying the filmic discourse, these bodies fill and interact in the urban fabric, providing performances by social groups, situations and conventions that are protagonized in the city through relationships interpenetrating.
{"title":"Corpo-Cidade","authors":"Alisson Oliveira Soares de Santana, Luís Vitor Castro Júnior","doi":"10.26512/EMTEMPOS.V1I37.31046","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.31046","url":null,"abstract":"This article proposes to analyze and discuss the short film “Um Crime na Rua” (1955), by Olney Sao Paulo. To this end, it sought to comprehend the filmic narrative, through the Body-City interaction and think about the experiences as well as the body expressions presents in the urban space. The 1955 production, recorded in the surrounds of the city center of Feira de Santana, Bahia, is one of the most important historical records of the city's visual memory when registering the movement of its urban life. The film makes it possible to relate reflections on the functions and particularities that the bodies enunciate in the urban landscapes underlying the filmic discourse, these bodies fill and interact in the urban fabric, providing performances by social groups, situations and conventions that are protagonized in the city through relationships interpenetrating.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44321244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-03DOI: 10.26512/emtempos.v1i37.34158
Beatriz Costa Barreto, Marília Romero Campos
O presente trabalho tem como objetivo analisar o documentário Cabra marcado para morrer (1984) de Eduardo Coutinho a fim de convocar um pensamento em torno da potência do cinema e sua relação com a história e a política. Para tanto, o texto se divide em três momentos. Na primeira seção, é feita uma contextualização do projeto estético e político das primeiras filmagens, da narrativa, que aconteceram entre 1962 e 1964 e foram interrompidas pelo golpe militar de 1964. Em seguida, é delineada a retomada das filmagens entre 1981 e 1984. E por fim, discute-se sobre a potência histórico-política de Cabra marcado para morrer (1984) de Eduardo Coutinho.
本作品旨在分析爱德华多·库蒂尼奥的纪录片《Cabra marcado para morir》（1984），以唤起人们对电影的力量及其与历史和政治的关系的思考。因此，文本分为三个部分。在第一节中，它对第一部电影的美学和政治项目以及叙事进行了语境化，这部电影发生在1962年至1964年之间，并因1964年的军事政变而中断。然后，概述了1981年至1984年间恢复拍摄的情况。最后，讨论了爱德华多·库蒂尼奥的《卡布拉·马卡多·帕拉·莫里尔》（1984）的历史政治权力。
{"title":"que pode o cinema?","authors":"Beatriz Costa Barreto, Marília Romero Campos","doi":"10.26512/emtempos.v1i37.34158","DOIUrl":"https://doi.org/10.26512/emtempos.v1i37.34158","url":null,"abstract":"O presente trabalho tem como objetivo analisar o documentário Cabra marcado para morrer (1984) de Eduardo Coutinho a fim de convocar um pensamento em torno da potência do cinema e sua relação com a história e a política. Para tanto, o texto se divide em três momentos. Na primeira seção, é feita uma contextualização do projeto estético e político das primeiras filmagens, da narrativa, que aconteceram entre 1962 e 1964 e foram interrompidas pelo golpe militar de 1964. Em seguida, é delineada a retomada das filmagens entre 1981 e 1984. E por fim, discute-se sobre a potência histórico-política de Cabra marcado para morrer (1984) de Eduardo Coutinho. \u0000 ","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41700146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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