Josafá Duarte e o Cinecordel: o cineasta cabra da peste contra o dragão de Roliúdi

• Autor(a) principal: Oliveira, Paulo Passos de
• Data de Publicação: 2019
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/10306
• topic: Josafá Duarte; Cinema popular; Conscientização política; Literatura de Cordel; Pedagogias culturais; Josafá Duarte; Popular cinema; Political Awareness; Cordel literature; Cultural pedagogies; ARTES::CINEMA

The subject of this dissertation is Mr. Josafá Ferreira Duarte, a social leader, peasant and filmmaker working in the Salgado dos Mendes district, in Forquilha, a city in the northwester Ceará. He actively works in filmmaking and also fights on other fronts in his life. Still young, he migrated to Fortaleza with his family, where he began his social leadership. He entered the Landless Rural Workers’ Movement (MST) but, after receiving death threats from former henchman of the farm his group had occupied, he went back to Salgado dos Mendes. Arriving there, he found out several political vices in his community, such as vote-buying and municipal jobs secured for those supporting the city’s mayor. Then, even ignoring filmmaking techniques, he decided to make films as a way of raising people’s “political awareness”. His films are made without funds, with collaboration from people in his community. Thus, the filmmaker formed the “Cinecordel” collaborative group. He then began posting his works in a blog and on YouTube. The director was also one of the people in charge of organizing a Movie Festival. With such a history, the city of Forquilha was awarded the title of “Popular Movie Capital of Ceará” by the State Legislature. The filmmaking oeuvre described herein, restricted to “popular movies”, is part of “popular culture”, made “by the people”, “for the people”; popular culture, more than a concept, is a field of study, a kind of cultural cross-section. The analysis of the concept of culture allows us to position the production by the subject hereof within “visual culture” as well. This phrase encompasses the producer, the production and the visual product at the level of cultural spheres. The films made by the Salgado dos Mendes-born director are linked to “cordel” literature, a written form of poetic narrative, of strong oral tradition, brought to Brazil during the colonial period. The filmmaker also produces cordel with stories similar to those in his films. His cinema results from the intersection of the following cordel elements: characters, cultural manifestations, moral values, humour and orality. The main underpinning of this research is that “political awareness”, which goes through the base of “popular cinema”, can be understood as a pedagogical act, developed within the scope of “cultural pedagogies”. These consist of a transdisciplinary field in which to think everyday cultural practices as educational opportunities. Popular cinema will be approached by cultural pedagogies according to some dimensions: in light of the reflection on the possibilities of their inclusion in schools; on the subjects and their relations with learning by the “other”, in a self-taught manner, and what will be defined as a “grupodidata” manner (group-taught); of the dynamics of the exchange relations among Cinecordel agents, from the perspective of the Maussian concept of “gift”; of the practices of “aprenderensinar” (learnteach), a term about the actions and dispositions of the “learning” and “teaching” acts; and of the epistemological domains that allow for approximations with the pedagogical proposals by Jacques Rancière and Joseph Jacotot, as well as those by Paulo Freire.