Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo
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Data de Publicação: | 2021 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Galáxia (São Paulo) |
Texto Completo: | https://revistas.pucsp.br/index.php/galaxia/article/view/54040 |
Resumo: | We consider the intertextual relationships of films by directors of Cinema Novo between 1959 and 1980 with Humberto Mauro’s feature films – Discovery of Brazil (1937), Clay (1942) and O canto da saudade (1952) – analyzing the use of the same Villa-Lobos’ musical pieces in Mauro´s films, that are reemployed (in the same or in a different version) in selected films by Cinema Novo’s directors. Through film analysis, we identify that the very presence of musical pieces The Discovery of Brazil, O canto do cisne negro, O canto do pajé and Choros n.3 evoke aspects of Mauro’s films in the ones by Glauber Rocha, Walter Lima Júnior, Carlos Diegues, Paulo César Saraceni and Joaquim Pedro de Andrade, such as: the Indian thematic, nationalism, rural environment, construction of national identity, besides more intricate associations, as those with Ancient Greece. |
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Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo Reutilizaciones de la música de Villa-Lobos e intertextualidades entre las películas de Humberto Mauro y Cinema NovoReempregos da música de Villa-Lobos e intertextualidades entre o cinema de Humberto Mauro e o Cinema Novoreemprego sonoroVilla-LobosCinema NovoHumberto Maurointertextualidadeintertextualitysound reemploymentNew Cinema (Cinema Novo)Humberto MauroVilla Lobosreempleo sonoroVilla LobosCinema NuevoHumberto MaurointertextualidadWe consider the intertextual relationships of films by directors of Cinema Novo between 1959 and 1980 with Humberto Mauro’s feature films – Discovery of Brazil (1937), Clay (1942) and O canto da saudade (1952) – analyzing the use of the same Villa-Lobos’ musical pieces in Mauro´s films, that are reemployed (in the same or in a different version) in selected films by Cinema Novo’s directors. Through film analysis, we identify that the very presence of musical pieces The Discovery of Brazil, O canto do cisne negro, O canto do pajé and Choros n.3 evoke aspects of Mauro’s films in the ones by Glauber Rocha, Walter Lima Júnior, Carlos Diegues, Paulo César Saraceni and Joaquim Pedro de Andrade, such as: the Indian thematic, nationalism, rural environment, construction of national identity, besides more intricate associations, as those with Ancient Greece.Consideramos las relaciones intertextuales de las películas de los directores de Cinema Novo de 1959 a 1980 con los largometrajes de Humberto Mauro - ODescobrimento do Brasil (1937), Argila (1942) y O canto da saudade (1952) - a través del análisis de la reempleo de las mismas obras musicales de Villa-Lobos presentes en las películas del cineasta de Minas Gerais, reutilizadas (en la misma o diferente versión) en obras de directores de cine. A través del análisis cinematográfico, identificamos que la presencia en sí de las canciones Suites O Descobrimento do Brasil, O canto do black swan, O canto do pajé y Choro n. 3 de Villa-Lobos evocan aspectos de trabajos anteriores de Mauro en películas seleccionadas de Glauber Rocha, Walter Lima Júnior, Carlos Diegues, Paulo César Saraceni y Joaquim Pedro de Andrade, especialmente los temas indígenas, el nacionalismo, el medio rural, la construcción de la identidad nacional, además de asociaciones más intrincadas, como con la Grecia Antigua.Consideramos as relações intertextuais de filmes de diretores do Cinema Novo de 1959 a 1980 com filmes de Humberto Mauro por meio do reemprego das mesmas obras musicais de Villa-Lobos presentes em filmes do cineasta mineiro. É de se salientar que o próprio Villa-Lobos é um compositor que fazia um constante reemprego de seus materiais musicais, como se nota em O descobrimento do Brasil (Humberto Mauro, 1937). Considerando a música de Villa-Lobos neste e em outros filmes de Humberto Mauro, analisamos os traços que a presença das suítes do Descobrimento do Brasil, O canto do cisne negro, O canto do pajé e os Choros n.3 evocam da obra de Mauro nos filmes de Glauber Rocha, Walter Lima Júnior, Carlos Diegues, Paulo César Saraceni e Joaquim Pedro de Andrade, além da própria estética e contextos dos filmes do Cinema Novo.PEPG COS-PUC-SP2021-12-06info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/54040Galaxia; No. 46 (2021)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 46 (2021)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/54040/38194Copyright (c) 2021 Luíza Beatriz Alvimhttps://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessAlvim, Luíza Beatriz2022-06-21T13:55:46Zoai:ojs.pkp.sfu.ca:article/54040Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2022-06-21T13:55:46Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo Reutilizaciones de la música de Villa-Lobos e intertextualidades entre las películas de Humberto Mauro y Cinema Novo Reempregos da música de Villa-Lobos e intertextualidades entre o cinema de Humberto Mauro e o Cinema Novo |
title |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo |
spellingShingle |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo Alvim, Luíza Beatriz reemprego sonoro Villa-Lobos Cinema Novo Humberto Mauro intertextualidade intertextuality sound reemployment New Cinema (Cinema Novo) Humberto Mauro Villa Lobos reempleo sonoro Villa Lobos Cinema Nuevo Humberto Mauro intertextualidad |
title_short |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo |
title_full |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo |
title_fullStr |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo |
title_full_unstemmed |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo |
title_sort |
Reemployment of Villa-Lobos’ music and intertextuality between films of Humberto Mauro and Brazilian Cinema Novo |
author |
Alvim, Luíza Beatriz |
author_facet |
Alvim, Luíza Beatriz |
author_role |
author |
dc.contributor.author.fl_str_mv |
Alvim, Luíza Beatriz |
dc.subject.por.fl_str_mv |
reemprego sonoro Villa-Lobos Cinema Novo Humberto Mauro intertextualidade intertextuality sound reemployment New Cinema (Cinema Novo) Humberto Mauro Villa Lobos reempleo sonoro Villa Lobos Cinema Nuevo Humberto Mauro intertextualidad |
topic |
reemprego sonoro Villa-Lobos Cinema Novo Humberto Mauro intertextualidade intertextuality sound reemployment New Cinema (Cinema Novo) Humberto Mauro Villa Lobos reempleo sonoro Villa Lobos Cinema Nuevo Humberto Mauro intertextualidad |
description |
We consider the intertextual relationships of films by directors of Cinema Novo between 1959 and 1980 with Humberto Mauro’s feature films – Discovery of Brazil (1937), Clay (1942) and O canto da saudade (1952) – analyzing the use of the same Villa-Lobos’ musical pieces in Mauro´s films, that are reemployed (in the same or in a different version) in selected films by Cinema Novo’s directors. Through film analysis, we identify that the very presence of musical pieces The Discovery of Brazil, O canto do cisne negro, O canto do pajé and Choros n.3 evoke aspects of Mauro’s films in the ones by Glauber Rocha, Walter Lima Júnior, Carlos Diegues, Paulo César Saraceni and Joaquim Pedro de Andrade, such as: the Indian thematic, nationalism, rural environment, construction of national identity, besides more intricate associations, as those with Ancient Greece. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-12-06 |
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://revistas.pucsp.br/index.php/galaxia/article/view/54040 |
url |
https://revistas.pucsp.br/index.php/galaxia/article/view/54040 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/54040/38194 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2021 Luíza Beatriz Alvim https://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2021 Luíza Beatriz Alvim 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 |
PEPG COS-PUC-SP |
publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
dc.source.none.fl_str_mv |
Galaxia; No. 46 (2021) GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 46 (2021) 1982-2553 reponame:Galáxia (São Paulo) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Galáxia (São Paulo) |
collection |
Galáxia (São Paulo) |
repository.name.fl_str_mv |
Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
cos@pucsp.br||aidarprado@gmail.com |
_version_ |
1799129332259487744 |