Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34135
M. Santos
This article, from the methodological perspective of comparative cinema, analyzes the relationships between parents, children and World War II, represented in two different films produced in East Germany, in 1968 and 1971. Die Russen Kommen and Karriere have as main scope the immediate post war in Germany. In both productions, we emphasize the passages in which the generational and familiar tension regarding the past is evident. This approach made possible to perceive the relationship of films with their specific context of production and, at the same time, a partial understanding of how the past, collaboration with the Nazi regime and family relationships were interpreted by East German cinema.
{"title":"“Um vácuo construído sobre um vazio”","authors":"M. Santos","doi":"10.26512/EMTEMPOS.V1I37.34135","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34135","url":null,"abstract":"This article, from the methodological perspective of comparative cinema, analyzes the relationships between parents, children and World War II, represented in two different films produced in East Germany, in 1968 and 1971. Die Russen Kommen and Karriere have as main scope the immediate post war in Germany. In both productions, we emphasize the passages in which the generational and familiar tension regarding the past is evident. This approach made possible to perceive the relationship of films with their specific context of production and, at the same time, a partial understanding of how the past, collaboration with the Nazi regime and family relationships were interpreted by East German cinema.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48000436","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.V1I37.34232
Maurício Knevitz, Alexandre Moroso Guilhão
This article proposes a debate about the film La Patagonia Rebelde (1974), directed by Hector Olivera and based in a book by Osvaldo Bayer. From a film history perspective, we conducted a film analysis to extract from our source questions about the historical period that the film portrays, such as the organization of Argentine workers through anarcho-syndicalism, and also about the period which the film itself was made, such as anti-imperalist themes and the contradictions and limitations of class conciliation.
{"title":"Anarquismo, conciliação e conflito em La Patagonia Rebelde (1974)","authors":"Maurício Knevitz, Alexandre Moroso Guilhão","doi":"10.26512/EMTEMPOS.V1I37.34232","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34232","url":null,"abstract":"This article proposes a debate about the film La Patagonia Rebelde (1974), directed by Hector Olivera and based in a book by Osvaldo Bayer. From a film history perspective, we conducted a film analysis to extract from our source questions about the historical period that the film portrays, such as the organization of Argentine workers through anarcho-syndicalism, and also about the period which the film itself was made, such as anti-imperalist themes and the contradictions and limitations of class conciliation.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47651580","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.V1I37.33829
Diogo Cavalcanti Velasco
The Sertao Nordestino has always been in Brazilian people imagination through the history discourses that has been produced. Several fields of discourses, like politics, economy, social sciences and arts, created a symbolic universe about this space. Therefore, the Movies also contributed in this symbolization, mainly in the Nordestern and Cinema Novo cycles. In the 2000s, there are new currents of cinematographic representation. One of them is the group of Nordeste that wants to talk about their Sertoes and gives them new meanings according to a contemporary globalized world. This present article searches, through the analytical methodology of Pierre Sorlin, to show how this happens in a group of four films: Cinema, Aspirinas e Urubus (Marcelo Gomes, 2005), Arido Movie (Lirio Ferreira, 2006), Ceu de Suely (Karim Ainouz, 2006) e Deserto Feliz (Paulo Caldas, 2007).
{"title":"Áridos Movies","authors":"Diogo Cavalcanti Velasco","doi":"10.26512/EMTEMPOS.V1I37.33829","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.33829","url":null,"abstract":"The Sertao Nordestino has always been in Brazilian people imagination through the history discourses that has been produced. Several fields of discourses, like politics, economy, social sciences and arts, created a symbolic universe about this space. Therefore, the Movies also contributed in this symbolization, mainly in the Nordestern and Cinema Novo cycles. In the 2000s, there are new currents of cinematographic representation. One of them is the group of Nordeste that wants to talk about their Sertoes and gives them new meanings according to a contemporary globalized world. This present article searches, through the analytical methodology of Pierre Sorlin, to show how this happens in a group of four films: Cinema, Aspirinas e Urubus (Marcelo Gomes, 2005), Arido Movie (Lirio Ferreira, 2006), Ceu de Suely (Karim Ainouz, 2006) e Deserto Feliz (Paulo Caldas, 2007).","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45949773","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.V1I37.34196
H. S. Oliveira
The present article seeks to analyze the trajectory of labor and the Brazilian Labor Party, the PTB as an important landmark in the conduct of a state policy, approximate the perspectives of labor laws and in the way of organizing the working class. This work also has as a motto to discuss the presence of the ideology and the labor party in the state of Bahia, pointing out the importance of the party in the context of the democratic experience (1945-1964), identifying the main political leaders and their political actions. In addition, it is worth highlighting the crises set up within the Bahian PTB, caused by ideological differences and the way of conducting political alliances with parties that did not always converge with labor principles. In this way, journalistic sources and dialogue with other works on the PTB, will give primordial support for the analysis of this field of political history.
{"title":"trajetória do Partido Trabalhista Brasileiro na Bahia","authors":"H. S. Oliveira","doi":"10.26512/EMTEMPOS.V1I37.34196","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34196","url":null,"abstract":"The present article seeks to analyze the trajectory of labor and the Brazilian Labor Party, the PTB as an important landmark in the conduct of a state policy, approximate the perspectives of labor laws and in the way of organizing the working class. This work also has as a motto to discuss the presence of the ideology and the labor party in the state of Bahia, pointing out the importance of the party in the context of the democratic experience (1945-1964), identifying the main political leaders and their political actions. In addition, it is worth highlighting the crises set up within the Bahian PTB, caused by ideological differences and the way of conducting political alliances with parties that did not always converge with labor principles. In this way, journalistic sources and dialogue with other works on the PTB, will give primordial support for the analysis of this field of political history.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45872264","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.V1I37.34099
J. M. Luiz
The documentary Osvaldao (2014) portrays the trajectory of Osvaldo Orlando da Costa, one of the most important characters of the Guerrilha do Araguaia (1972-1974). Its production is linked to the Mauricio Grabois Foundation, linked to the Communist Party of Brazil (PC do B), to which the militants who worked in Araguaia belonged. Black and communist, Osvaldao lost his life in the eastern Brazilian Amazon, where he carried out militant work for about eight years. In the article, we seek to problematize the representations that the film builds in relation to the guerrilla life story and how race relations were portrayed. We tried to understand the choices made by the filmmakers regarding the frameworks given to the trajectory of the biographer, based on disputes over memory in force in Brazil in those years starting in the decade of 2010. Notably, the clashes over the memory of the dictatorship and the sub- representation of blacks in narratives that deal with national history.
{"title":"“Estou aqui fazendo um filme”","authors":"J. M. Luiz","doi":"10.26512/EMTEMPOS.V1I37.34099","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34099","url":null,"abstract":"The documentary Osvaldao (2014) portrays the trajectory of Osvaldo Orlando da Costa, one of the most important characters of the Guerrilha do Araguaia (1972-1974). Its production is linked to the Mauricio Grabois Foundation, linked to the Communist Party of Brazil (PC do B), to which the militants who worked in Araguaia belonged. Black and communist, Osvaldao lost his life in the eastern Brazilian Amazon, where he carried out militant work for about eight years. In the article, we seek to problematize the representations that the film builds in relation to the guerrilla life story and how race relations were portrayed. We tried to understand the choices made by the filmmakers regarding the frameworks given to the trajectory of the biographer, based on disputes over memory in force in Brazil in those years starting in the decade of 2010. Notably, the clashes over the memory of the dictatorship and the sub- representation of blacks in narratives that deal with national history.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46206614","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.V1I37.31872
Talita Von Gilsa
This article seeks to identify how the character Mary Magdalene is represented in the biblical epic films, King of Kings (1961) and The Greatest Story Ever Told (1965). In both, Mary Magdalene is a supporting character, but the actresses who played her have a prominent place in Brazilian cinema magazines and newspapers of the period. The look dedicated to these productions is due to the biopic of Mary Magdalene, launched in 2018, directed by Garth Davis, where there is a break in a dominant narrative about the character. Given this, there is the objective of comparing the character representation choices in the two films, seeking to draw parallels with the 2018 film.
{"title":"Maria Madalena no cinema","authors":"Talita Von Gilsa","doi":"10.26512/EMTEMPOS.V1I37.31872","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.31872","url":null,"abstract":"This article seeks to identify how the character Mary Magdalene is represented in the biblical epic films, King of Kings (1961) and The Greatest Story Ever Told (1965). In both, Mary Magdalene is a supporting character, but the actresses who played her have a prominent place in Brazilian cinema magazines and newspapers of the period. The look dedicated to these productions is due to the biopic of Mary Magdalene, launched in 2018, directed by Garth Davis, where there is a break in a dominant narrative about the character. Given this, there is the objective of comparing the character representation choices in the two films, seeking to draw parallels with the 2018 film.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46873249","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.V1I37.30925
Luã Pedro Rocha Carvalho
The present article aims to discuss the characteristics that permeate the accusations of a “Haitianist” nature, that is, directly linked to the supposed remaining ideals of the Haitian Revolution - mainly, the extermination of the white race - under the perception of a racialized brazilian society in the eighteenth century. Formerly, it's necessary to understand the concepts of race and racialization, in addition, of course, to a deeper understanding of the events that took place in the second independent nation of the Americas, Haiti. Finally, some examples of the Haitian influence in different brazilian social strata are shown.
{"title":"As acusações “haitianistas” na racializada sociedade brasileira da primeira metade do Dezenove","authors":"Luã Pedro Rocha Carvalho","doi":"10.26512/EMTEMPOS.V1I37.30925","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.30925","url":null,"abstract":"The present article aims to discuss the characteristics that permeate the accusations of a “Haitianist” nature, that is, directly linked to the supposed remaining ideals of the Haitian Revolution - mainly, the extermination of the white race - under the perception of a racialized brazilian society in the eighteenth century. Formerly, it's necessary to understand the concepts of race and racialization, in addition, of course, to a deeper understanding of the events that took place in the second independent nation of the Americas, Haiti. Finally, some examples of the Haitian influence in different brazilian social strata are shown.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43029476","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.V1I37.34233
A. Maynard
The Second World War has been a recurring theme in recent film productions. This article aims to analyze how the Russian film Tankers (2018) and the Italian film Once More Unto the Breach (2019) approached World War II, observing how they describe the participation of their respective countries of origin in the conflict. Considering the time gap between the facts reported and the release of the films, what should be remembered and in what way? Depending on how the story is told, War may seem like the ideal setting for heroes, or tormented ones.
{"title":"Luta honrosa ou infernal?","authors":"A. Maynard","doi":"10.26512/EMTEMPOS.V1I37.34233","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34233","url":null,"abstract":"The Second World War has been a recurring theme in recent film productions. This article aims to analyze how the Russian film Tankers (2018) and the Italian film Once More Unto the Breach (2019) approached World War II, observing how they describe the participation of their respective countries of origin in the conflict. Considering the time gap between the facts reported and the release of the films, what should be remembered and in what way? Depending on how the story is told, War may seem like the ideal setting for heroes, or tormented ones.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43207538","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.v1i37.31465
Bruno José Yashinishi
O objetivo deste artigo é demonstrar possibilidades teóricas quanto à adoção de fontes cinematográficas para a pesquisa histórica, bem como procedimentos metodológicos indispensáveis a esse tipo de abordagem. Além disso, pretende-se elucidar a possível relação entre narrativa histórica e narrativa cinematográfica, compreendendo que ambas são capazes de organizar o conhecimento e a consciência histórica.
{"title":"relação Cinema-História","authors":"Bruno José Yashinishi","doi":"10.26512/emtempos.v1i37.31465","DOIUrl":"https://doi.org/10.26512/emtempos.v1i37.31465","url":null,"abstract":"O objetivo deste artigo é demonstrar possibilidades teóricas quanto à adoção de fontes cinematográficas para a pesquisa histórica, bem como procedimentos metodológicos indispensáveis a esse tipo de abordagem. Além disso, pretende-se elucidar a possível relação entre narrativa histórica e narrativa cinematográfica, compreendendo que ambas são capazes de organizar o conhecimento e a consciência histórica.","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69356590","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.V1I37.33929
Yuri Barbosa Resende
The present article aims to discuss, based on reflections on History, Memory and Cinema, the framing of Oscar Wilde's image made by two contemporary but different movies: the biopic 'Wilde' (1997) and the musical drama 'Velvet Goldmine' (1998). After discussing the popularity of biographical pictures and the role that can be assumed by an historian when analyzing this type of audiovisual production, considering the elements intrinsic to the cinematographic language, we wish to answer the following question: when compared to the musical drama released in 1998, was the biopic ‘Wilde' successful in the attempt to revisit Wilde's memory and reflect on the importance of this writer in contemporaneity?
{"title":"Oscar Wilde Vai Ao Cinema","authors":"Yuri Barbosa Resende","doi":"10.26512/EMTEMPOS.V1I37.33929","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.33929","url":null,"abstract":"The present article aims to discuss, based on reflections on History, Memory and Cinema, the framing of Oscar Wilde's image made by two contemporary but different movies: the biopic 'Wilde' (1997) and the musical drama 'Velvet Goldmine' (1998). After discussing the popularity of biographical pictures and the role that can be assumed by an historian when analyzing this type of audiovisual production, considering the elements intrinsic to the cinematographic language, we wish to answer the following question: when compared to the musical drama released in 1998, was the biopic ‘Wilde' successful in the attempt to revisit Wilde's memory and reflect on the importance of this writer in contemporaneity?","PeriodicalId":30228,"journal":{"name":"Em Tempo de Historias","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48490341","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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