Banca de DEFESA: DAVID VINNÍCIUS LIRA CAMPOS

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
DISCENTE : DAVID VINNÍCIUS LIRA CAMPOS
DATA : 24/08/2023
HORA: 14:00
LOCAL: Google Meet
TÍTULO:

The cangaço films of Glauber Rocha, Popular culture and culture industry

PALAVRAS-CHAVES:

Culture industry. Theodor Adorno. Glauber Rocha. Cinema. Cangaço. Popular culture.

PÁGINAS: 115
GRANDE ÁREA: Linguística, Letras e Artes
ÁREA: Letras
SUBÁREA: Literatura Brasileira
RESUMO:

At the end of the first half of the 20th century, Theodor Adorno and Max Horkheimer developed the concept of culture industry, a movement that promotes the standardization of art and, at the same time, reflects the interests of its producers. In the context of the culture industry, art becomes a commodified work marked by repetition, which is seen in the major media, such as film, television and radio. During the decades of the classical Hollywood cinema, film companies fed the entertainment’s demands with movies characterized by a formulaic language and homogeneity. The classical Hollywood narrative model sustains the capitalist status quo and offers to the art of cinema a pragmatic way to make movies whose seamless style – a term used by Seymour Chatman (1990) – tries to hide the manipulative force of modern rational-technical society, that introduces the ideology of culture industry in films. Despite the dialogue with Western, one of the most influential film genres, Black God, white devil (Deus e o diabo na terra do sol, 1964) and Antonio das Mortes (O dragão da maldade contra o santo guerreiro, 1969) refuse what one might call the genre formula. Directed by Glauber Rocha, these films were made outside the bounds of traditional production, rejecting the standardized narrative form and many of its political implications. Based on these considerations, this dissertation analyzes the way Rocha, using narrative techniques that contrast with industrial procedure, build a particular world where the cangaço – the most famous banditism category in Brazil – is treated as a pre-revolutionary phenomenon. By providing a new view to popular culture, his avant-garde work moves in the opposite direction of nordestern, a Brazilian adaptation from American Western that uses the cowboy’s image as a model to fashion the character of cangaceiro according to the rules of the classical method. In order to understand Rocha’s revolutionary vision of cangaço and the complex syntax of his films, we make use of a large number of theoretical works from multiple areas, as film studies, banditism and popular culture history, and, of course, discussions that follow Adorno and Horkheimer’s initial concepts and Adorno’s further elaborations on culture industry.  

MEMBROS DA BANCA:
Presidente - 3340 - CHARLES ALBUQUERQUE PONTE
Externo ao Programa - 12615 - MICHEL DE LUCENA COSTA
Externo à Instituição - NETANIAS MATEUS DE SOUZA CASTRO - UERN