Santo Antonio e a vaca, a true bumpkin cinema in Araraquara

Detalhes bibliográficos
Autor(a) principal: Tolentino, Célia Aparecida Ferreira
Data de Publicação: 2007
Tipo de documento: Artigo
Idioma: por
Título da fonte: Perspectivas
Texto Completo: https://periodicos.fclar.unesp.br/perspectivas/article/view/376
Resumo: The article analyzes the movie Santo Antonio e a vaca, made in 1958 in the city of Araraquara, São Paulo. In this pioneer movie, a bumpkin narrative and aesthetic is created in order to subvert the technological and modern cinematographic language. Santo Antonio e a vaca rescues a typical theme of countryside communities, the so called moral narrative that appears in the form of “causo” (a short oral story), which is presented with shy movie camera takes, without exploring most of the exclusively cinematographic resources. The movies’ theme and form were adopted by its creator and director, Wallace Leal as a way of reacting against the demolition of the local theatre to give place for the construction of the city hall of Araraquara. About that time, when the theatre was demolished, Wallace Leal directed a theatrical group, which presented with certain success the spectacle that would inspire and give its name to the movie.
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spelling Santo Antonio e a vaca, a true bumpkin cinema in AraraquaraSanto Antônio e a vaca, um verdadeiro cinema caipira em Araraquara.Cinema brasileiroestética “caipira”linguagem cinematográficaThe article analyzes the movie Santo Antonio e a vaca, made in 1958 in the city of Araraquara, São Paulo. In this pioneer movie, a bumpkin narrative and aesthetic is created in order to subvert the technological and modern cinematographic language. Santo Antonio e a vaca rescues a typical theme of countryside communities, the so called moral narrative that appears in the form of “causo” (a short oral story), which is presented with shy movie camera takes, without exploring most of the exclusively cinematographic resources. The movies’ theme and form were adopted by its creator and director, Wallace Leal as a way of reacting against the demolition of the local theatre to give place for the construction of the city hall of Araraquara. About that time, when the theatre was demolished, Wallace Leal directed a theatrical group, which presented with certain success the spectacle that would inspire and give its name to the movie.O texto analisa o filme Santo Antonio e a vaca, realizado no ano de 1958, na cidade de Araraquara. Nesse filme pioneiro, procura-se criar um cinema com narrativa e estética caipiras, mas para subverter a moderna e tecnológica linguagem cinematográfica. Santo Antônio e a Vaca resgata um tema típico das comunidades rurais, a chamadan narrativa moral na forma do “causo”, e o apresenta com acanhadas tomadas de câmera, sem a exploração dos recursos especialmente cinematográficos. O tema e a forma do filme foram adotados por seu idealizador e diretor, Wallace Leal, como uma forma de reação à demolição do teatro da cidade para ceder lugar à construção que abrigaria a prefeitura de Araraquara. À época em que o teatro foi demolido, Wallace Leal dirigia uma trupe teatral, que apresentava com certo sucesso o espetáculo que inspiraria e daria nome à fita.Universidade Estadual Paulista / UNESP2007-10-02info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.fclar.unesp.br/perspectivas/article/view/376Perspectivas: Revista de Ciências Sociais; v. 26 (2003)1984-02410101-3459reponame:Perspectivasinstname:Universidade Estadual Paulista (UNESP)instacron:UNESPporhttps://periodicos.fclar.unesp.br/perspectivas/article/view/376/260Copyright (c) 2007 Perspectivas: Revista de Ciências Sociaisinfo:eu-repo/semantics/openAccessTolentino, Célia Aparecida Ferreira2009-06-05T18:16:43Zoai:ojs.pkp.sfu.ca:article/376Revistahttps://periodicos.fclar.unesp.br/perspectivasPUBhttps://periodicos.fclar.unesp.br/perspectivas/oai||lahuerta@fclar.unesp.br1984-02410101-3459opendoar:2009-06-05T18:16:43Perspectivas - Universidade Estadual Paulista (UNESP)false
dc.title.none.fl_str_mv Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
Santo Antônio e a vaca, um verdadeiro cinema caipira em Araraquara.
title Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
spellingShingle Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
Tolentino, Célia Aparecida Ferreira
Cinema brasileiro
estética “caipira”
linguagem cinematográfica
title_short Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
title_full Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
title_fullStr Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
title_full_unstemmed Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
title_sort Santo Antonio e a vaca, a true bumpkin cinema in Araraquara
author Tolentino, Célia Aparecida Ferreira
author_facet Tolentino, Célia Aparecida Ferreira
author_role author
dc.contributor.author.fl_str_mv Tolentino, Célia Aparecida Ferreira
dc.subject.por.fl_str_mv Cinema brasileiro
estética “caipira”
linguagem cinematográfica
topic Cinema brasileiro
estética “caipira”
linguagem cinematográfica
description The article analyzes the movie Santo Antonio e a vaca, made in 1958 in the city of Araraquara, São Paulo. In this pioneer movie, a bumpkin narrative and aesthetic is created in order to subvert the technological and modern cinematographic language. Santo Antonio e a vaca rescues a typical theme of countryside communities, the so called moral narrative that appears in the form of “causo” (a short oral story), which is presented with shy movie camera takes, without exploring most of the exclusively cinematographic resources. The movies’ theme and form were adopted by its creator and director, Wallace Leal as a way of reacting against the demolition of the local theatre to give place for the construction of the city hall of Araraquara. About that time, when the theatre was demolished, Wallace Leal directed a theatrical group, which presented with certain success the spectacle that would inspire and give its name to the movie.
publishDate 2007
dc.date.none.fl_str_mv 2007-10-02
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://periodicos.fclar.unesp.br/perspectivas/article/view/376
url https://periodicos.fclar.unesp.br/perspectivas/article/view/376
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.fclar.unesp.br/perspectivas/article/view/376/260
dc.rights.driver.fl_str_mv Copyright (c) 2007 Perspectivas: Revista de Ciências Sociais
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2007 Perspectivas: Revista de Ciências Sociais
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Estadual Paulista / UNESP
publisher.none.fl_str_mv Universidade Estadual Paulista / UNESP
dc.source.none.fl_str_mv Perspectivas: Revista de Ciências Sociais; v. 26 (2003)
1984-0241
0101-3459
reponame:Perspectivas
instname:Universidade Estadual Paulista (UNESP)
instacron:UNESP
instname_str Universidade Estadual Paulista (UNESP)
instacron_str UNESP
institution UNESP
reponame_str Perspectivas
collection Perspectivas
repository.name.fl_str_mv Perspectivas - Universidade Estadual Paulista (UNESP)
repository.mail.fl_str_mv ||lahuerta@fclar.unesp.br
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