A paisagem da Baía de Guanabara através do filme Luz Del Fuego

• Autor(a) principal: Boy Oliveira, Bárbara
• Data de Publicação: 2020
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: P@ranoá
• Texto Completo: https://periodicos.unb.br/index.php/paranoa/article/view/29375
• topic: Baía de Guanabara, Luz del Fuego, narrativa feminina, representação; Guanabara`s Bay, Luz del Fuego, female narrative, representation

The paper discusses the landscape of Guanabara`s Bay through David Neves' film, Luz del Fuego (1982). Starting from the understanding that the Bay conforms a collective memory space that occurs not only in the past, but also in the present, we seek to understand the current relationship of the population of Rio de Janeiro with the Bay. Denis Cosgrove (1989) assists us by identifying multiple types of symbolic landscapes within them: dominant culture landscape and alternative landscape. The analyzed film tells the story of the dancer Dora Vivacqua, an important woman for female liberation in Rio de Janeiro. And has a particular look on the Bay, housing and scene of the death of the protagonist. During the film narrative it is necessary to look not only at the landscape optics of the dominant culture, but also at the alternative landscape, described by Cosgrove, as well as a gender problem, where there is often the erasure of female narratives. Women are part of the culture excluded from the public landscape, since women's use of the landscape has long been the domestic landscape. What Luz del Fuego breaks dramatically, giving unexpected use to an island of Guanabara`s Bay in the 1960s.