Publication
O soft power cinematográfico e o colonialismo em Lagaan, Princesa Mononoke e Avatar
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Advisor(s)
Abstract(s)
: A arte como expressão da alma humana possui o poder da leveza e da beleza,
denuncia, torna visível, esclarece e convence. Nesse caminho, o cinema representa uma
"arma" no arsenal contra o colonialismo em contextos pós-coloniais em que as
territorialidades estão em disputas de forma multidimensional, seja na cultura, nos bens
minerais, nos recursos naturais, fauna e flora. “Arma” essa que se adequa ao conceito de
Soft Power de Joseph Nye (2004a). Nesse sentido, o presente trabalho, objetiva apontar
algumas intersecções entre a arte do cinema, aspetos das relações entre povos
colonizadores, colonizados e as subsequentes teorias pós-coloniais delas decorrentes. A
partir daí, analisam-se os roteiros de três filmes identificados com a temática do
colonialismo, quais sejam o indiano Lagaan (Gowariker, 2001), o japonês Princesa
Mononoke (Miyazaki, 1997) e o estadunidense Avatar (Cameron, 2009). Como
conclusão, entre outras, evidencia-se que as obras cinematográficas auxiliam nas
discussões e visão crítica a respeito de temáticas sensíveis como colonialismo em
contextos pós-coloniais.
Art as an expression of the human soul has the power of lightness and beauty, denounces, makes visible, clarifies and convinces. In this way, cinema represents a "weapon" in the arsenal against colonialism in post-colonial contexts in which territorialities are in disputes in multidimensional way, whether in culture, mineral goods, natural resources, fauna and flora. “Weapon” that fits Joseph Nye's (2004a) Soft Power concept. In this sense, the present work aims to point out some intersections between the art of cinema, aspects of the relations between colonizing, colonized peoples and the subsequent post-colonial theories arising from them. From there, the scripts of three films identified with the theme of colonialism are analyzed, namely the Indian Lagaan (Gowariker, 2001), the Japanese Princess Mononoke (Miyazaki, 1997) and the American Avatar (Cameron, 2009). As a conclusion, among others, it is evident that cinematographic works assist in discussions and critical view regarding sensitive themes such as colonialism in post-colonial contexts.
Art as an expression of the human soul has the power of lightness and beauty, denounces, makes visible, clarifies and convinces. In this way, cinema represents a "weapon" in the arsenal against colonialism in post-colonial contexts in which territorialities are in disputes in multidimensional way, whether in culture, mineral goods, natural resources, fauna and flora. “Weapon” that fits Joseph Nye's (2004a) Soft Power concept. In this sense, the present work aims to point out some intersections between the art of cinema, aspects of the relations between colonizing, colonized peoples and the subsequent post-colonial theories arising from them. From there, the scripts of three films identified with the theme of colonialism are analyzed, namely the Indian Lagaan (Gowariker, 2001), the Japanese Princess Mononoke (Miyazaki, 1997) and the American Avatar (Cameron, 2009). As a conclusion, among others, it is evident that cinematographic works assist in discussions and critical view regarding sensitive themes such as colonialism in post-colonial contexts.
Description
Keywords
Colonialismo Pós-colonialismo Soft power Cinema Lagaan Princesa Mononoke Avatar Colonialism Post-colonialism . Faculdade de Artes e Humanidades
Citation
10.34640/52020CTCNSOF