The (re)invention of Brazilian cinema in its dialogue with the science fiction genre

Detalhes bibliográficos
Autor(a) principal: Lins, Arthur
Data de Publicação: 2023
Tipo de documento: Artigo
Idioma: por
Título da fonte: Rebeca (São Paulo)
Texto Completo: https://rebeca.socine.org.br/1/article/view/934
Resumo: In Brazilian cinema of the 2010s, a series of films used elements of the science fiction genre to highlight the unusual features that were permeating the Brazilian political scene. The desire to fabulate the real has highlighted historical traumas and opened space for speculations of a transgressive nature that could operate a decolonization of the imaginary and a renewal in the Brazilian cinematographic scenario. In this article, we propose to think about the implications of this move, taking into account the historical legacy of invention cinema, a term coined by the critic and director Jairo Ferreira when he studied the effervescent Brazilian cultural context of the late 1960s and early 1970s. For this analysis of Brazilian cinema in the past decade, we privileged two works by a director who stood out in this context with films that were politically daring and inventive in their aesthetic and narrative procedures, namely Branco Sai, Preto Fica (2014) and Era uma vez Brasília (2017), both directed by filmmaker Adirley Queirós. His work under construction guides a debate about the peripheral condition of our cinema and its possibilities through the bias of a fiction of the poor, expanding an aesthetic imaginary by bringing to light evidence of the historical constitution of Brazilian cinema and its legacy in the days of today.
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spelling The (re)invention of Brazilian cinema in its dialogue with the science fiction genreLa (re)invención del cine brasileño en su diálogo con el género de ciencia ficción A (re)invenção do cinema brasileiro em seu diálogo com o gênero de ficção científicaCinema BrasileiroFicção CientíficaDistopiasCinema de InvençãoCinema brasileiro contemporâneoBrazilian CinemaScience FictionDystopiasInvention CinemaContemporary Brazilian cinemaCine brasileñoCiencia ficciónDistopíasCine de InvenciónIn Brazilian cinema of the 2010s, a series of films used elements of the science fiction genre to highlight the unusual features that were permeating the Brazilian political scene. The desire to fabulate the real has highlighted historical traumas and opened space for speculations of a transgressive nature that could operate a decolonization of the imaginary and a renewal in the Brazilian cinematographic scenario. In this article, we propose to think about the implications of this move, taking into account the historical legacy of invention cinema, a term coined by the critic and director Jairo Ferreira when he studied the effervescent Brazilian cultural context of the late 1960s and early 1970s. For this analysis of Brazilian cinema in the past decade, we privileged two works by a director who stood out in this context with films that were politically daring and inventive in their aesthetic and narrative procedures, namely Branco Sai, Preto Fica (2014) and Era uma vez Brasília (2017), both directed by filmmaker Adirley Queirós. His work under construction guides a debate about the peripheral condition of our cinema and its possibilities through the bias of a fiction of the poor, expanding an aesthetic imaginary by bringing to light evidence of the historical constitution of Brazilian cinema and its legacy in the days of today.En el cine brasileño de la década de 2010, una serie de películas hizo uso de elementos del género de ciencia ficción para resaltar el clima inusual que se estaba instalando en la escena política brasileña. El deseo de fabular lo real destacó traumas históricos y abrió espacio para especulaciones de carácter transgresor que podrían operar una descolonización del imaginario y una renovación en la escena cinematográfica brasileña. En este artículo nos proponemos reflexionar sobre las implicaciones de este gesto, teniendo en cuenta el legado histórico del cine de invención, término acuñado por el crítico y director Jairo Ferreira cuando estudiaba el efervescente contexto cultural brasileño de finales de los años sesenta y principios de los setenta. Para este análisis del cine brasileño en la última década, privilegiamos dos obras de un director que se destacó en este contexto con películas políticamente atrevidas e inventivas en sus procedimientos estéticos y narrativos. Me refiero a las películas Branco Sai, Preto Fica (2014) y Era uma vez Brasilia (2017), ambas dirigidas por el cineasta Adirley Queirós. Su obra en construcción orienta un debate sobre la condición periférica de nuestro cine y también sus posibilidades a través del sesgo de una ficción de los pobres, ampliando un imaginario estético al traer a la luz evidencias de la constitución histórica del cine brasileño y su legado en los días de hoy.No cinema brasileiro dos anos 2010, uma série de filmes fizeram uso de elementos do gênero de ficção científica para evidenciar o caráter insólito que foi se instaurando no cenário político brasileiro. O desejo de fabulação do real evidenciou traumas históricos e abriu espaço para especulações de caráter transgressor que pudessem operar uma descolonização do imaginário e uma renovação no cenário cinematográfico brasileiro. Neste artigo, propomos pensar as implicações desse gesto levando em conta o legado histórico do cinema de invenção, termo cunhado pelo crítico e realizador Jairo Ferreira ao se debruçar sobre o efervescente contexto cultural brasileiro do final da década de 1960 e começo da década de 1970. Para esta análise acerca do cinema brasileiro da década passada, privilegiamos duas obras de um realizador que se destacou nesse contexto com filmes ousados politicamente e inventivos em seus procedimentos estéticos e narrativos. A saber, os filmes Branco Sai, Preto Fica (2014, DF) e Era uma vez Brasília (2017, DF), ambos dirigidos pelo cineasta Adirley Queirós. A sua obra em construção norteia um debate acerca da condição periférica de nosso cinema e também das possibilidades deste pelo viés de uma ficção dos pobres, alargando um imaginário estético ao trazer à tona evidências da constituição histórica do cinema brasileiro e do seu legado nos dias de hoje.Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual2023-07-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionTextoapplication/pdfhttps://rebeca.socine.org.br/1/article/view/93410.22475/rebeca.v12n1.934Rebeca - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 12 No. 1 (2023): Rebeca 23Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 Núm. 1 (2023): Rebeca 23Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 No 1 (2023): Rebeca 23Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 12 n. 1 (2023): Rebeca 232316-9230reponame:Rebeca (São Paulo)instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)instacron:SOCINEporhttps://rebeca.socine.org.br/1/article/view/934/545Copyright (c) 2023 Arthur Linshttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessLins, Arthur2023-07-30T18:45:43Zoai:ojs.emnuvens.com.br:article/934Revistahttps://rebeca.socine.org.br/1ONGhttps://rebeca.socine.org.br/1/oairebeca@socine.org.br2316-92302316-9230opendoar:2023-07-30T18:45:43Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)false
dc.title.none.fl_str_mv The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
La (re)invención del cine brasileño en su diálogo con el género de ciencia ficción
A (re)invenção do cinema brasileiro em seu diálogo com o gênero de ficção científica
title The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
spellingShingle The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
Lins, Arthur
Cinema Brasileiro
Ficção Científica
Distopias
Cinema de Invenção
Cinema brasileiro contemporâneo
Brazilian Cinema
Science Fiction
Dystopias
Invention Cinema
Contemporary Brazilian cinema
Cine brasileño
Ciencia ficción
Distopías
Cine de Invención
title_short The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
title_full The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
title_fullStr The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
title_full_unstemmed The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
title_sort The (re)invention of Brazilian cinema in its dialogue with the science fiction genre
author Lins, Arthur
author_facet Lins, Arthur
author_role author
dc.contributor.author.fl_str_mv Lins, Arthur
dc.subject.por.fl_str_mv Cinema Brasileiro
Ficção Científica
Distopias
Cinema de Invenção
Cinema brasileiro contemporâneo
Brazilian Cinema
Science Fiction
Dystopias
Invention Cinema
Contemporary Brazilian cinema
Cine brasileño
Ciencia ficción
Distopías
Cine de Invención
topic Cinema Brasileiro
Ficção Científica
Distopias
Cinema de Invenção
Cinema brasileiro contemporâneo
Brazilian Cinema
Science Fiction
Dystopias
Invention Cinema
Contemporary Brazilian cinema
Cine brasileño
Ciencia ficción
Distopías
Cine de Invención
description In Brazilian cinema of the 2010s, a series of films used elements of the science fiction genre to highlight the unusual features that were permeating the Brazilian political scene. The desire to fabulate the real has highlighted historical traumas and opened space for speculations of a transgressive nature that could operate a decolonization of the imaginary and a renewal in the Brazilian cinematographic scenario. In this article, we propose to think about the implications of this move, taking into account the historical legacy of invention cinema, a term coined by the critic and director Jairo Ferreira when he studied the effervescent Brazilian cultural context of the late 1960s and early 1970s. For this analysis of Brazilian cinema in the past decade, we privileged two works by a director who stood out in this context with films that were politically daring and inventive in their aesthetic and narrative procedures, namely Branco Sai, Preto Fica (2014) and Era uma vez Brasília (2017), both directed by filmmaker Adirley Queirós. His work under construction guides a debate about the peripheral condition of our cinema and its possibilities through the bias of a fiction of the poor, expanding an aesthetic imaginary by bringing to light evidence of the historical constitution of Brazilian cinema and its legacy in the days of today.
publishDate 2023
dc.date.none.fl_str_mv 2023-07-30
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Texto
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://rebeca.socine.org.br/1/article/view/934
10.22475/rebeca.v12n1.934
url https://rebeca.socine.org.br/1/article/view/934
identifier_str_mv 10.22475/rebeca.v12n1.934
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://rebeca.socine.org.br/1/article/view/934/545
dc.rights.driver.fl_str_mv Copyright (c) 2023 Arthur Lins
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2023 Arthur Lins
http://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 Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual
publisher.none.fl_str_mv Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual
dc.source.none.fl_str_mv Rebeca - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 12 No. 1 (2023): Rebeca 23
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 Núm. 1 (2023): Rebeca 23
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 No 1 (2023): Rebeca 23
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 12 n. 1 (2023): Rebeca 23
2316-9230
reponame:Rebeca (São Paulo)
instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)
instacron:SOCINE
instname_str Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)
instacron_str SOCINE
institution SOCINE
reponame_str Rebeca (São Paulo)
collection Rebeca (São Paulo)
repository.name.fl_str_mv Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)
repository.mail.fl_str_mv rebeca@socine.org.br
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