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Paisagens da Amazônia e representações indígenas na produção cinematográfica brasileira Ajuricaba: o rebelde da Amazônia (1977)
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Abstract(s)
No presente artigo, destacaremos o filme Ajuricaba – o rebelde da Amazônia,
a fim de refletir sobre como os indígenas Manaus e seu personagem mítico Ajuricaba,
bem como as paisagens da Amazônia e seus significados incorporados, são representados
numa narrativa que se alterna entre o século XVIII e o presente. Ao ter a sua história
relembrada na narrativa fílmica que se conecta com o presente o filme destaca “certas
continuidades históricas”, conforme anuncia Shohat e Stam (2006), as quais buscaremos
analisar. No filme, é também simbólica a representação desses espaços da Amazônia e a
sua relação entre o urbano e o não urbano. Essas paisagens e suas reproduções
permanecem vinculadas, de acordo com Aumont (1995), àquilo que se encontra dentro
do campo e traz indícios do que está fora de campo. Essas paisagens que se encontram
dentro do campo deixam de ser apenas imagens para adquirir significados e se transformar
em espaços imaginários, simbólicos e sensíveis (Martin, 2003). Nesse sentido, tanto as
paisagens da Amazônia quanto o personagem Ajuricaba se transformam em símbolos não
mais de um indivíduo particular e espaço específico, mas de todo guerreiro que resiste à
opressão, assim como resiste a Amazônia com suas riquezas naturais.
In this article, we will highlight the film Ajuricaba - the rebel of the Amazon, in order to reflect on how the indigenous Manaus and their mythical character Ajuricaba, as well as the landscapes of the Amazon and their embodied meanings, are represented in a narrative that alternates between the century XVIII and the present. By having its history recalled in the filmic narrative that connects with the present, the film highlights “certain historical continuities”, as announced by Shohat and Stam (2006), which we will seek to analyze. In the film, the representation of urban spaces in the Amazon and its relationship between the urban and the non-urban is also symbolic. These landscapes and their reproductions remain linked, according to Aumont (1995), to what is within the field and brings evidence of what is outside the field. These landscapes that are located within the field are no longer just images but acquire meanings and become imaginary, symbolic, and sensitive spaces (Martin, 2003). In this sense, both the landscapes of the Amazon and the character Ajuricaba become symbols no longer of a particular individual and specific space, but of every warrior who resists oppression, just as the Amazon resists with its natural riches.
In this article, we will highlight the film Ajuricaba - the rebel of the Amazon, in order to reflect on how the indigenous Manaus and their mythical character Ajuricaba, as well as the landscapes of the Amazon and their embodied meanings, are represented in a narrative that alternates between the century XVIII and the present. By having its history recalled in the filmic narrative that connects with the present, the film highlights “certain historical continuities”, as announced by Shohat and Stam (2006), which we will seek to analyze. In the film, the representation of urban spaces in the Amazon and its relationship between the urban and the non-urban is also symbolic. These landscapes and their reproductions remain linked, according to Aumont (1995), to what is within the field and brings evidence of what is outside the field. These landscapes that are located within the field are no longer just images but acquire meanings and become imaginary, symbolic, and sensitive spaces (Martin, 2003). In this sense, both the landscapes of the Amazon and the character Ajuricaba become symbols no longer of a particular individual and specific space, but of every warrior who resists oppression, just as the Amazon resists with its natural riches.
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Keywords
Cinema brasileiro Amazónia (Brasil) Manaus (Brasil) Ajuricaba Brazilian cinema Amazon . Faculdade de Artes e Humanidades
Citation
Publisher
Universidade da Madeira