Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.34152
Josias José Freire Júnior
The scientific rationality of the history is guaranteed in its production, in historiography, through methodological rules of the research stages. However, history is not able to control the social circulation of this knowledge, beyond its scope, although the question of the presentation of history is also one of its problems. Undoubtedly one of the most important forms of dissemination that is not strictly historiographical in history is audiovisual, whether in the cinema or other media. In this context, reflections are presented in this article in order to problematize the meanings of audiovisual narratives broadcast by the television series "Guia Politicamente Incorreto" (2017), as a defendant in the themes of public history, conscience and historical culture. The article now presented is the result of a research that aimed to discuss historical meanings of audiovisual production, based on public history and the didactics of history, in the television series analyzed.
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Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.32675
Vinícius Viana Juchem
From the perspective of historians, cinema is considered a way of expanding the possibilities for reflection on the past. This presupposes understanding the films beyond the character of mere cultural entertainment, but as a historical source. In this way, this article addresses the Brazilian military dictatorship (1964-1985) through the film A nun and torture (1984), directed by Ozualdo R. Candeias, which narrates the troubled and violent relationship between a police officer and a nun accused of subversion. Low-budget production and with a strong erotic and political character, the aforementioned feature had its exhibition in national territory vetoed by federal censorship. In view of what was stated, we started from the following research problem: what are the possibilities of interpreting the film The nun and torture as a historical source about the military dictatorship? The objective is to contribute to the studies about the military dictatorship.
从历史学家的角度来看，电影被认为是一种扩大反思过去的可能性的方式。这就要求我们超越单纯的文化娱乐，而是把电影作为一个历史来源来理解。通过这种方式，本文通过奥祖阿尔多·r·坎代亚斯(Ozualdo R. Candeias)导演的电影《修女与酷刑》(1984)讲述了巴西军事独裁时期(1964-1985)，讲述了一名警察和一名被指控颠覆国家政权的修女之间充满麻烦和暴力的关系。由于制作成本低，且带有强烈的情色和政治色彩，该影片在美国境内的放映被联邦审查机构否决。鉴于以上所述，我们从以下研究问题开始:将电影《修女与酷刑》作为一个关于军事独裁的历史来源来解读的可能性是什么?目的是对军事独裁的研究有所贡献。
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Pub Date : 2020-12-03DOI: 10.26512/EMTEMPOS.V1I37.31597
V. Andrade
The north american film Gone with the Wind debuted in December 1939, completing 80 years of its release last year. Considered one of the cinema classics, its scenario is the American Civil War, which culminated in the abolition of slavery, and the period of subsequent reconstruction. The purpose of this article is to analyze one of the striking - and apparently incongruous - features of the work: a 233-minute film, adapted of a book that has more than a thousand pages, which backdrop is a conflict caused by the maintenance or not of the slavery, completely abstains from the discussion on the abolition of slavery in the USA and on a racial issue arising from the liberation of the enslaved.
{"title":"...E o Vento Levou","authors":"V. Andrade","doi":"10.26512/EMTEMPOS.V1I37.31597","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.31597","url":null,"abstract":"The north american film Gone with the Wind debuted in December 1939, completing 80 years of its release last year. Considered one of the cinema classics, its scenario is the American Civil War, which culminated in the abolition of slavery, and the period of subsequent reconstruction. The purpose of this article is to analyze one of the striking - and apparently incongruous - features of the work: a 233-minute film, adapted of a book that has more than a thousand pages, which backdrop is a conflict caused by the maintenance or not of the slavery, completely abstains from the discussion on the abolition of slavery in the USA and on a racial issue arising from the liberation of the enslaved.","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":"47097735","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.V1I37.34089
D. Silva
This work analyzes the minimalist aesthetic of the Theater of the Absurd applied to a cinematographic, cartoonist and poetic narrative called Morte e Vida Severina adapted to a cinematographic 3D animation. I analyzed the audiovisual aesthetics of an animation that mixes cartoon and woodcut techniques. It analyzes how Severino's existentialism and universalism are subtly constructed in the mise-en-scene through feelings of memorization, emptiness, deafening silence, monochromatic colors, psychological space, the universalization of the name Severino and the repetition of images iconic to sertao. The conclusion of this investigation points to a regional cinematography that feeds on the minimalistic and universal aesthetic of the Theater of the Absurd to reveal the complexity and sophistication of the ordinary man, represented on the figure of the sertanejo man, whose life’s nemesis exceeds the limits of sertao to become an universal issue, part of the world of absurd.
这部作品分析了荒诞剧院的极简主义美学，并将其应用于电影、漫画家和诗歌叙事，名为Morte e Vida Severina，改编为电影3D动画。我分析了一部融合了卡通和木刻技术的动画的视听美学。它通过记忆、空虚、震耳欲聋的沉默、单色、心理空间、塞维里诺这个名字的普遍性以及塞尔托标志性图像的重复，分析了塞维里诺存在主义和普遍主义是如何在场景中被巧妙地建构起来的。这项调查的结论指向了一种区域摄影，它以荒诞剧院的极简主义和普遍美学为基础，揭示了普通人的复杂性和复杂性，以塞尔塔涅霍人的形象为代表，他的生活克星超过了塞尔托的极限，成为了一个普遍的问题，成为荒谬世界的一部分。
{"title":"minimalismo absurdo na animação Morte e Vida Severina de Afonso Serpa","authors":"D. Silva","doi":"10.26512/EMTEMPOS.V1I37.34089","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34089","url":null,"abstract":"This work analyzes the minimalist aesthetic of the Theater of the Absurd applied to a cinematographic, cartoonist and poetic narrative called Morte e Vida Severina adapted to a cinematographic 3D animation. I analyzed the audiovisual aesthetics of an animation that mixes cartoon and woodcut techniques. It analyzes how Severino's existentialism and universalism are subtly constructed in the mise-en-scene through feelings of memorization, emptiness, deafening silence, monochromatic colors, psychological space, the universalization of the name Severino and the repetition of images iconic to sertao. The conclusion of this investigation points to a regional cinematography that feeds on the minimalistic and universal aesthetic of the Theater of the Absurd to reveal the complexity and sophistication of the ordinary man, represented on the figure of the sertanejo man, whose life’s nemesis exceeds the limits of sertao to become an universal issue, part of the world of absurd.","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":"46116475","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.V1I37.33231
Alvaro Eduardo Trigueiro Americano, Letícia Barbosa Torres Americano
The military was a key ally of President Getulio Vargas during the Estado Novo regime in Brazil (1937-1945), with a strong role in its ideological representation. In this article, we investigate how this partnership in the exercise of power was shown in the newsreel Cine Jornal Brasileiro (CJB), between 1938 and 1946, a component of the regime's political propaganda strategy. The Armed Forces were a recurring theme and subject of the CJB as part of the government's commitment to convince society to accept the ideological molds of the authoritarian state that was established in the country.
{"title":"Disciplina e ordem nas telas do Cine Jornal Brasileiro","authors":"Alvaro Eduardo Trigueiro Americano, Letícia Barbosa Torres Americano","doi":"10.26512/EMTEMPOS.V1I37.33231","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.33231","url":null,"abstract":"The military was a key ally of President Getulio Vargas during the Estado Novo regime in Brazil (1937-1945), with a strong role in its ideological representation. In this article, we investigate how this partnership in the exercise of power was shown in the newsreel Cine Jornal Brasileiro (CJB), between 1938 and 1946, a component of the regime's political propaganda strategy. The Armed Forces were a recurring theme and subject of the CJB as part of the government's commitment to convince society to accept the ideological molds of the authoritarian state that was established in the country.","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":"44848149","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.V1I37.34139
L. B. Rodrigues
This article aims to understand how French colonialism used torture practices in Algeria as political control through the analysis of the film The Battle of Algiers directed by Gillo Pontecorvo. In this way, we will establish connections between the repression of the struggle for independence, supported by the ideology of the “counterrevolutionary war” and the links with the crimes against humanity committed by the dictatorships in Latin America. Finally, we will analyze how the torture experiences in Algeria reflected in Brazil through the training of the “Schools of French repression”.
{"title":"Colonialismo como laboratório","authors":"L. B. Rodrigues","doi":"10.26512/EMTEMPOS.V1I37.34139","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34139","url":null,"abstract":"This article aims to understand how French colonialism used torture practices in Algeria as political control through the analysis of the film The Battle of Algiers directed by Gillo Pontecorvo. In this way, we will establish connections between the repression of the struggle for independence, supported by the ideology of the “counterrevolutionary war” and the links with the crimes against humanity committed by the dictatorships in Latin America. Finally, we will analyze how the torture experiences in Algeria reflected in Brazil through the training of the “Schools of French repression”.","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":"47335543","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.v1i37.34193
C. Freire, Francisco das Chagas Fernandes Santiago Júnior
A entrevista que segue remonta a trajetória e as dificuldades com a homofobia e a transfobia no Brasil recente no contexto audiovisual. O cineasta Émerson Maranhão conseguira certa notoriedade com a circulação do curta Aqueles Dois, sobre dois homens trans, mas, em 2019, teve o projeto de série Transversais censurado por transfobia pelo atual Presidente da República. A entrevista contextualiza a trajetória do cineasta, bem como o episódio, documentando um aspecto de nossa história republicana atual. Os autores agradecem a convivência coletiva no Fórum de Teoria e História da Historiografia (FTHHH) que possibilitou o encontro entre ambos, na edição de Natal. É necessário também agradecer ao Prof. Antônio Gilberto Ramos Nogueira por ter apresentado, para um dos autores, Renato Freire, o diretor Émerson Maranhão.
{"title":"mergulho do outro","authors":"C. Freire, Francisco das Chagas Fernandes Santiago Júnior","doi":"10.26512/emtempos.v1i37.34193","DOIUrl":"https://doi.org/10.26512/emtempos.v1i37.34193","url":null,"abstract":"A entrevista que segue remonta a trajetória e as dificuldades com a homofobia e a transfobia no Brasil recente no contexto audiovisual. O cineasta Émerson Maranhão conseguira certa notoriedade com a circulação do curta Aqueles Dois, sobre dois homens trans, mas, em 2019, teve o projeto de série Transversais censurado por transfobia pelo atual Presidente da República. A entrevista contextualiza a trajetória do cineasta, bem como o episódio, documentando um aspecto de nossa história republicana atual. Os autores agradecem a convivência coletiva no Fórum de Teoria e História da Historiografia (FTHHH) que possibilitou o encontro entre ambos, na edição de Natal. É necessário também agradecer ao Prof. Antônio Gilberto Ramos Nogueira por ter apresentado, para um dos autores, Renato Freire, o diretor Émerson Maranhão.","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":"69356633","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.V1I37.34202
Vinícius da Cunha Bisterço
The movie A Margem, by Ozualdo Candeias, reports the daily lives of four individuals dwelling in a peripheral region of Sao Paulo city. From the considerations of Marc Ferro, Eduardo Morettin and Ismail Xavier, the paper points out paths to mobilize the cinema as a source of the historical knowledge. In the investigation, main emphasis is given to the construction of the social experience of the marginalized, which is strained between the constitution of solidarity bonds and the incapacity of reacting collectively to the oppressions. Besides that, the movie is also investigated as a critical perspective about the modernization process in Sao Paulo city, intensified since the fifties.
{"title":"Utopia e destruição, ruína e progresso","authors":"Vinícius da Cunha Bisterço","doi":"10.26512/EMTEMPOS.V1I37.34202","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34202","url":null,"abstract":"The movie A Margem, by Ozualdo Candeias, reports the daily lives of four individuals dwelling in a peripheral region of Sao Paulo city. From the considerations of Marc Ferro, Eduardo Morettin and Ismail Xavier, the paper points out paths to mobilize the cinema as a source of the historical knowledge. In the investigation, main emphasis is given to the construction of the social experience of the marginalized, which is strained between the constitution of solidarity bonds and the incapacity of reacting collectively to the oppressions. Besides that, the movie is also investigated as a critical perspective about the modernization process in Sao Paulo city, intensified since the fifties.","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":"41523980","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.V1I37.34235
Leila Saads
Approximately seven kilometers from the Plano Piloto in Brasilia, bordering one of the main connecting routes between this area and other cities in the Federal District (DF), is Cidade Estrutural. Its history goes back to the first years of the new capital's existence, when some waste collectors, identifying recycling as a livelihood, settled in the region. Its consolidation process as a city was long and complex. The documentary Estrutural, directed by Webson Dias and released in 2016, uses several sources (photographs, videos, testimonies, public pieces) to try to understand and tell the history of this city. This article aims to weave possible narratives about the formation of the Cidade Estrutural from the dialogue between Dias' film and part of the academic production on this urban occupation. Therefore, an articulation between the concepts of territory, experience and memory will be proposed, understanding how, at the intersections of these concepts, it becomes possible to understand the political and territorial disputes represented in the documentary Estrutural and what city images emerge from these representations.
Cidade Estrutural距离巴西利亚的Plano Piloto约7公里，是该地区与联邦区（DF）其他城市之间的主要连接路线之一。它的历史可以追溯到新首都成立的最初几年，当时一些废物收集者将回收利用视为一种生计，定居在该地区。它作为一个城市的巩固过程是漫长而复杂的。纪录片《Estrutral》由韦布森·迪亚斯执导，于2016年上映，它使用了多种来源（照片、视频、证词、公开作品）来试图了解和讲述这座城市的历史。本文旨在从迪亚斯的电影与关于这一城市占领的部分学术作品之间的对话中编织出关于Cidade Estrutral形成的可能叙事。因此，将提出领土、经验和记忆概念之间的衔接，理解在这些概念的交叉点上，如何有可能理解纪录片《Estrutral》中所代表的政治和领土争端，以及这些代表中产生了什么城市形象。
{"title":"Cinema e memória urbana","authors":"Leila Saads","doi":"10.26512/EMTEMPOS.V1I37.34235","DOIUrl":"https://doi.org/10.26512/EMTEMPOS.V1I37.34235","url":null,"abstract":"Approximately seven kilometers from the Plano Piloto in Brasilia, bordering one of the main connecting routes between this area and other cities in the Federal District (DF), is Cidade Estrutural. Its history goes back to the first years of the new capital's existence, when some waste collectors, identifying recycling as a livelihood, settled in the region. Its consolidation process as a city was long and complex. The documentary Estrutural, directed by Webson Dias and released in 2016, uses several sources (photographs, videos, testimonies, public pieces) to try to understand and tell the history of this city. This article aims to weave possible narratives about the formation of the Cidade Estrutural from the dialogue between Dias' film and part of the academic production on this urban occupation. Therefore, an articulation between the concepts of territory, experience and memory will be proposed, understanding how, at the intersections of these concepts, it becomes possible to understand the political and territorial disputes represented in the documentary Estrutural and what city images emerge from these representations.","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":"43029740","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.v1i37.34342
Vanessa Montenegro
En este estado de la cuestión se hace una comparación entre el desarrollo de la historiografía del cine anglonórdica versus la historiografía del cine en Latinoamérica. En la primera parte del trabajo se abordan los debates que cuestionan las metodologías, los enfoques y los resultados de la historiografía del cine anglosajona y que culminan con la publicación de The Routledge companion to new cinema history (Biltereyst, Maltby, y Meers 2019). La segunda parte está dedicada a revisar el desarrollo de la historiografía del cine en Latinoamérica hasta la aparición del texto Tradición y modernidad en el cine de América Latina (Paranaguá 2003) y su influencia en los estudios e investigaciones de la región. Seguidamente se presentan algunos trabajos que dan una idea de los diversos caminos y líneas de investigación en boga dentro de la más reciente historiografía del cine en Latinoamérica.
在这种情况下，我们将研究盎格鲁-诺曼电影史学的发展与拉丁美洲电影史学的发展之间的比较。在工作的第一部分，讨论了盎格鲁-撒克逊电影史学的方法、方法和结果，并在《劳特利奇新电影史指南》(Biltereyst, Maltby, and Meers 2019)的出版中达到顶峰。第二部分致力于回顾拉丁美洲电影史学的发展，直到文本“传统与现代在拉丁美洲电影”(paranagua 2003)的出现及其对该地区研究和研究的影响。以下是一些作品，提供了一个想法，在最近的拉丁美洲电影史学中流行的各种路径和研究方向。
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