Catimbó-Jurema: A critical analysis of the multimodal discourse on the religious social imaginary in the film O Auto da Compadecida

• Autor(a) principal: Lima, Leonardo Adriano Eugênio de
• Data de Publicação: 2023
• Outros Autores: Dias, Thayse Silva da Rocha, Rocha, Ana Flora Ferreira, Bezerra, Fábio Alexandre Silva
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Letras de Hoje (Online)
• Texto Completo: https://revistaseletronicas.pucrs.br/ojs/index.php/fale/article/view/43602
• topic: Catimbó-Jurema; O Auto da Compadecida; multimodalidade; discurso; imaginário social; Catimbó-Jurema; O Auto da Compadecida; multimodality; discourse; social imaginary; Catimbó-Jurema; O Auto da Compadecida; multimodalidad; discurso; imaginario social

In contemporary society, there are countless demands created daily as a result of the intersectional relationships that make up the identity experiences of individuals and different social groups, based on social markers of difference such as gender, sexuality, race, class, ethnicity, religious affiliation and disability, that often become a catalyst for prejudice and discrimination. In this context, we investigate, in this paper, the construction of the sociodiscursive imaginary about Catimbó-Jurema through the analysis of selected scenes from the movie O Auto da Compadecida (2000), with theoretical-methodological and critical support of the systemic-functional grammar (HALLIDAY; MATTHIESSEN, 2014), more specifically of the transitivity system of the experiential metafunction, the grammar of visual design (KRESS; VAN LEEUWEN, 2021), focusing on the representational and compositional metafunctions, and critical discourse analysis (FAIRCLOUGH, 1995, 2015; RESENDE; RAMALHO, 2006), based on Fairclough’s tridimensional model, in a transdisciplinary relationship with studies in anthropology, religious sciences, sociology and philosophy. Overall results of the critical and systemic-functional analyses of the multimodal discourse on Catimbó-Jurema in the film O Auto da Compadecida indicate that the construction of this social imaginary occurs through the mobilization of verbal and image resources that seek to associate Afro-indigenous religions with the demonic at the intersection of discourses and social practices that are (re)articulated in complex, historical and situated ways. Lastly, we understand that the analyses carried out allowed us to have a critical view not only regarding the use of the multimodal resources in this film, but also with regard to the interrelationships between the meaning-making processes through language and the intelligibilities that are also part of the sociocultural imaginary.