Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967)
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Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Estudos Ibero-Americanos |
Texto Completo: | https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/24749 |
Resumo: | The article discusses, through the analysis of Leon Hirszman’s Garota de Ipanema (1967) and its social circuit, tensions between politics and pleasure on daily life at Rio de Janeiro during the military dictatorship. The reinterpretation of a Bossa Nova song on a movie that intended to follow the daily life of a middle-class girl from Ipanema is expected as a break with the assumptions on how to make political cinema followed so far by its director, one of the exponents of Brazilian Cinema Novo (New Cinema). After all, both Ipanema and Bossa Nova were considered representative of a depoliticized bohemia apparently not worried with art intervention in society, important to Cinema Novo’s filmmakers. Ironically, the film disappointed critics exactly because it was not a good entertainment, for it aimed to understand the relations of the “girl from Ipanema” with the world, including her perception of politics under a dictatorship. Thus, the analysis aims the connections between dictatorship, art and bohemia both on and through the film. |
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Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967)Entre la política y el placer: dictadura, arte y bohemia a través del film Garota de Ipanema (Leon Hirszman, 1967)Entre a política e o prazer: ditadura, arte e boêmia através do filme Garota de Ipanema (Leon Hirszman, 1967)CinemaBrazilian military dictatorshipPoliticsCinema NovoBossa Nova.Cinedictadura militarPolíticaCine NovoBossa Nova.CinemaDitadura militar brasileiraPolíticaCinema NovoBossa NovaThe article discusses, through the analysis of Leon Hirszman’s Garota de Ipanema (1967) and its social circuit, tensions between politics and pleasure on daily life at Rio de Janeiro during the military dictatorship. The reinterpretation of a Bossa Nova song on a movie that intended to follow the daily life of a middle-class girl from Ipanema is expected as a break with the assumptions on how to make political cinema followed so far by its director, one of the exponents of Brazilian Cinema Novo (New Cinema). After all, both Ipanema and Bossa Nova were considered representative of a depoliticized bohemia apparently not worried with art intervention in society, important to Cinema Novo’s filmmakers. Ironically, the film disappointed critics exactly because it was not a good entertainment, for it aimed to understand the relations of the “girl from Ipanema” with the world, including her perception of politics under a dictatorship. Thus, the analysis aims the connections between dictatorship, art and bohemia both on and through the film.El artículo aborda, a través del análisis del film Garota de Ipanema (Leon Hirszman, 1967) y de su circuito social, las tensiones entre política y placer en el cotidiano de Rio de Janeiro durante la dictadura militar. La relectura de una canción de Bossa Nova a través de un film que pretendía acompañar el cotidiano de una niña de clase media en Ipanema es esperada como una ruptura con los presupuestos del cine político seguidos hasta entonces por su director, uno de los exponentes del Cinema Novo brasilero. Efectivamente, tanto la Bossa Nova como Ipanema eran consideradas metonimias de una bohemia despolitizada que no se conectaba, aparentemente, con la propuesta de intervención del arte en la sociedad, seguida por los cinemanovistas. Irónicamente, el film decepcionó a la crítica justamente por no ser un buen entretenimiento, mientras se proponía comprender la inserción de la protagonista en el mundo, inclusive su relación con la política bajo una dictadura. De este modo, el análisis posibilita pensar las conexiones entre dictadura, arte y bohemia, en el film y a través del mismo.O artigo aborda, através da análise do filme Garota de Ipanema (Leon Hirszman, 1967) e de seu circuito social, as tensões entre política e prazer no cotidiano do Rio de Janeiro durante a ditadura militar. A releitura de uma canção da Bossa Nova através de um filme que pretendia acompanhar o cotidiano de uma menina de classe média em Ipanema é esperada como um rompimento com os pressupostos do cinema político seguidos até então por seu diretor, um dos expoentes do Cinema Novo brasileiro. Afinal, tanto a Bossa quanto Ipanema eram consideradas metonímias de uma boêmia despolitizada que não se conectava, aparentemente, com a proposta de intervenção da arte na sociedade, seguida pelos cinemanovistas. Ironicamente, o filme decepcionou a crítica, justamente por não ser um bom entretenimento, se propondo a compreender a inserção da protagonista no mundo, inclusive sua relação com a política sob uma ditadura. Desse modo, a análise possibilita pensar as conexões entre ditadura, arte e boêmia no filme e através dele.Editora da PUCRS - ediPUCRS2017-06-05info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/2474910.15448/1980-864X.2017.2.24749Estudos Ibero-Americanos; Vol. 43 No. 2 (2017): Dossier - History, everyday life and social memory - the common life under dictatorships in the 20th century; 414-427Estudos Ibero-Americanos; Vol. 43 Núm. 2 (2017): Dossiê - Historia, vida cotidiano y memoria social - la vida común bajo las dictaduras en el siglo XX; 414-427Estudos Ibero-Americanos; v. 43 n. 2 (2017): Dossiê - História, cotidiano e memória social – a vida comum sob as ditaduras no século XX; 414-4271980-864X0101-406410.15448/1980-864X.2017.2reponame:Estudos Ibero-Americanosinstname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSporhttps://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/24749/15649Copyright (c) 2017 Carlos Eduardo Pinto de Pintohttps://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessde Pinto, Carlos Eduardo Pinto2017-11-29T19:02:36Zoai:ojs.revistaseletronicas.pucrs.br:article/24749Revistahttps://revistaseletronicas.pucrs.br/index.php/iberoamericanaPRIhttps://revistaseletronicas.pucrs.br/index.php/iberoamericana/oaieditora.periodicos@pucrs.br||eia@pucrs.br1980-864X0101-4064opendoar:2017-11-29T19:02:36Estudos Ibero-Americanos - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false |
dc.title.none.fl_str_mv |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) Entre la política y el placer: dictadura, arte y bohemia a través del film Garota de Ipanema (Leon Hirszman, 1967) Entre a política e o prazer: ditadura, arte e boêmia através do filme Garota de Ipanema (Leon Hirszman, 1967) |
title |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) |
spellingShingle |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) de Pinto, Carlos Eduardo Pinto Cinema Brazilian military dictatorship Politics Cinema Novo Bossa Nova. Cine dictadura militar Política Cine Novo Bossa Nova. Cinema Ditadura militar brasileira Política Cinema Novo Bossa Nova |
title_short |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) |
title_full |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) |
title_fullStr |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) |
title_full_unstemmed |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) |
title_sort |
Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) |
author |
de Pinto, Carlos Eduardo Pinto |
author_facet |
de Pinto, Carlos Eduardo Pinto |
author_role |
author |
dc.contributor.author.fl_str_mv |
de Pinto, Carlos Eduardo Pinto |
dc.subject.por.fl_str_mv |
Cinema Brazilian military dictatorship Politics Cinema Novo Bossa Nova. Cine dictadura militar Política Cine Novo Bossa Nova. Cinema Ditadura militar brasileira Política Cinema Novo Bossa Nova |
topic |
Cinema Brazilian military dictatorship Politics Cinema Novo Bossa Nova. Cine dictadura militar Política Cine Novo Bossa Nova. Cinema Ditadura militar brasileira Política Cinema Novo Bossa Nova |
description |
The article discusses, through the analysis of Leon Hirszman’s Garota de Ipanema (1967) and its social circuit, tensions between politics and pleasure on daily life at Rio de Janeiro during the military dictatorship. The reinterpretation of a Bossa Nova song on a movie that intended to follow the daily life of a middle-class girl from Ipanema is expected as a break with the assumptions on how to make political cinema followed so far by its director, one of the exponents of Brazilian Cinema Novo (New Cinema). After all, both Ipanema and Bossa Nova were considered representative of a depoliticized bohemia apparently not worried with art intervention in society, important to Cinema Novo’s filmmakers. Ironically, the film disappointed critics exactly because it was not a good entertainment, for it aimed to understand the relations of the “girl from Ipanema” with the world, including her perception of politics under a dictatorship. Thus, the analysis aims the connections between dictatorship, art and bohemia both on and through the film. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-06-05 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/24749 10.15448/1980-864X.2017.2.24749 |
url |
https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/24749 |
identifier_str_mv |
10.15448/1980-864X.2017.2.24749 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/24749/15649 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2017 Carlos Eduardo Pinto de Pinto https://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2017 Carlos Eduardo Pinto de Pinto https://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Editora da PUCRS - ediPUCRS |
publisher.none.fl_str_mv |
Editora da PUCRS - ediPUCRS |
dc.source.none.fl_str_mv |
Estudos Ibero-Americanos; Vol. 43 No. 2 (2017): Dossier - History, everyday life and social memory - the common life under dictatorships in the 20th century; 414-427 Estudos Ibero-Americanos; Vol. 43 Núm. 2 (2017): Dossiê - Historia, vida cotidiano y memoria social - la vida común bajo las dictaduras en el siglo XX; 414-427 Estudos Ibero-Americanos; v. 43 n. 2 (2017): Dossiê - História, cotidiano e memória social – a vida comum sob as ditaduras no século XX; 414-427 1980-864X 0101-4064 10.15448/1980-864X.2017.2 reponame:Estudos Ibero-Americanos instname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) instacron:PUC_RS |
instname_str |
Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
instacron_str |
PUC_RS |
institution |
PUC_RS |
reponame_str |
Estudos Ibero-Americanos |
collection |
Estudos Ibero-Americanos |
repository.name.fl_str_mv |
Estudos Ibero-Americanos - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
repository.mail.fl_str_mv |
editora.periodicos@pucrs.br||eia@pucrs.br |
_version_ |
1799128858935427072 |