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Palmares como território de transição na redemocratização
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Advisor(s)
Abstract(s)
O artigo analisa o filme Quilombo (1984), do diretor Carlos Diegues,
percebendo a construção do território de Palmares na obra como reflexos de uma
identidade brasileira no momento de iminente redemocratização. As imagens do filme,
que representam o quilombo são, desta forma, a imaginação de uma nação democrática
possível, sendo a cultura afro-brasileira ponto nodal entre diversas demandas sociais
barradas pela Ditadura Militar implantada a partir de 1964. Processo que anos depois se
rompe com o neoliberalismo, mas que no momento da produção é marcante. Portanto, a
perspectiva de Benedict Anderson ao pensar a nação como uma comunidade imaginada
e Milton Santos entendendo o território como a soma de forças diversas, são acionados
em um diálogo com o filme. Uma perspectiva pós-colonial onde a territorialidade fixa,
surge como controle e exclusão do outro. Aporte teórico que entende o território
quilombola no filme como o rompimento com diversos processos coloniais e excludentes
no Brasil. Uma abordagem metodológica interdisciplinar entendendo o filme como um
documento histórico que permita perceber as características inerentes ao tempo em que é
produzido; como também um discurso estético, propondo uma direção investigativa da
obra através das propriedades básicas do material fílmico e suas implicações práticas.
The article proposes the analysis of the film Quilombo (1984), by director Carlos Diegues, perceiving the construction of the territory of Palmares in the work as reflections of a Brazilian identity at the time of imminent redemocratization. The images in the film, which represent the quilombo, are, in this way, the imagination of a possible democratic nation, with Afro-Brazilian culture being the nodal point between various social demands barred by the Military Dictatorship of 64. A process that years later breaks with neoliberalism, but that at the time of production is remarkable. Therefore, Benedict Anderson's perspective when thinking of the nation as an imagined community and Milton Santos understanding the territory as the sum of diverse forces, are activated in a dialogue with the film. A post-colonial perspective where fixed territoriality emerges as control and exclusion of the other. Theoretical contribution that understands the quilombola territory in the film as a break with several colonial and exclusionary processes in Brazil. An interdisciplinary methodological approach, understanding the film as a historical document that allows us to perceive the inherent characteristics of the time in which it is produced; as well as an aesthetic discourse, proposing an investigative direction of the work through the basic properties of the film material and its practical implications.
The article proposes the analysis of the film Quilombo (1984), by director Carlos Diegues, perceiving the construction of the territory of Palmares in the work as reflections of a Brazilian identity at the time of imminent redemocratization. The images in the film, which represent the quilombo, are, in this way, the imagination of a possible democratic nation, with Afro-Brazilian culture being the nodal point between various social demands barred by the Military Dictatorship of 64. A process that years later breaks with neoliberalism, but that at the time of production is remarkable. Therefore, Benedict Anderson's perspective when thinking of the nation as an imagined community and Milton Santos understanding the territory as the sum of diverse forces, are activated in a dialogue with the film. A post-colonial perspective where fixed territoriality emerges as control and exclusion of the other. Theoretical contribution that understands the quilombola territory in the film as a break with several colonial and exclusionary processes in Brazil. An interdisciplinary methodological approach, understanding the film as a historical document that allows us to perceive the inherent characteristics of the time in which it is produced; as well as an aesthetic discourse, proposing an investigative direction of the work through the basic properties of the film material and its practical implications.
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Keywords
Quilombo (1984) Cinema brasileiro Quilombo Território Redemocratização Brazilian cinema Terrytory Redemocratization . Faculdade de Artes e Humanidades
Citation
Publisher
Universidade da Madeira