God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Repositório Institucional da UNESP |
Texto Completo: | http://dx.doi.org/10.4000/caravelle.399 http://hdl.handle.net/11449/194605 |
Resumo: | If cinema is an essentially urban means of expression, the fruit of technique and industry, can a film narrator express in a film's esthetics a caipira's Weltanschauung (world vision or philosophy) ? We suggest, agreeing with Benjamin who considers that narrative is the best expression of manual and traditional work's time that the story related by the film A protecao de Santo Antonio constitutes a cinematographic narrative which can be classified as caipira. Tenderly called by the audiences Santo Antonio e a vaca, this film was supported by a large part of the population for its making, which allowed to fill in the lack of technical and financial resources. Here, we defend the idea that the visible traces of this work in this particular film, turns it into a real filmic narrative and also into a sincere tribute to caipira culture. |
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Repositório Institucional da UNESP |
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God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cowHistoryCaipira narratorRural and cinemaCaipira estheticsBrazilian cinemaIf cinema is an essentially urban means of expression, the fruit of technique and industry, can a film narrator express in a film's esthetics a caipira's Weltanschauung (world vision or philosophy) ? We suggest, agreeing with Benjamin who considers that narrative is the best expression of manual and traditional work's time that the story related by the film A protecao de Santo Antonio constitutes a cinematographic narrative which can be classified as caipira. Tenderly called by the audiences Santo Antonio e a vaca, this film was supported by a large part of the population for its making, which allowed to fill in the lack of technical and financial resources. Here, we defend the idea that the visible traces of this work in this particular film, turns it into a real filmic narrative and also into a sincere tribute to caipira culture.Univ Estadual Paulista Marilia, Marilia, SP, BrazilUniv Estadual Paulista Marilia, Marilia, SP, BrazilPresses Univ MirailUniversidade Estadual Paulista (Unesp)Tolentino, Celia2020-12-10T16:31:28Z2020-12-10T16:31:28Z2012-12-01info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/article147-168http://dx.doi.org/10.4000/caravelle.399Caravelle-cahiers Du Monde Hispanique Et Luso-bresilien. Toulouse: Presses Univ Mirail, n. 99, p. 147-168, 2012.1147-6753http://hdl.handle.net/11449/19460510.4000/caravelle.399WOS:000209350400008Web of Sciencereponame:Repositório Institucional da UNESPinstname:Universidade Estadual Paulista (UNESP)instacron:UNESPporCaravelle-cahiers Du Monde Hispanique Et Luso-bresilieninfo:eu-repo/semantics/openAccess2021-10-22T18:26:56Zoai:repositorio.unesp.br:11449/194605Repositório InstitucionalPUBhttp://repositorio.unesp.br/oai/requestopendoar:29462024-08-05T16:55:36.952774Repositório Institucional da UNESP - Universidade Estadual Paulista (UNESP)false |
dc.title.none.fl_str_mv |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow |
title |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow |
spellingShingle |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow Tolentino, Celia History Caipira narrator Rural and cinema Caipira esthetics Brazilian cinema |
title_short |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow |
title_full |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow |
title_fullStr |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow |
title_full_unstemmed |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow |
title_sort |
God writes straight with crooked lines. The aesthetic hick of Saint Antonio and the cow |
author |
Tolentino, Celia |
author_facet |
Tolentino, Celia |
author_role |
author |
dc.contributor.none.fl_str_mv |
Universidade Estadual Paulista (Unesp) |
dc.contributor.author.fl_str_mv |
Tolentino, Celia |
dc.subject.por.fl_str_mv |
History Caipira narrator Rural and cinema Caipira esthetics Brazilian cinema |
topic |
History Caipira narrator Rural and cinema Caipira esthetics Brazilian cinema |
description |
If cinema is an essentially urban means of expression, the fruit of technique and industry, can a film narrator express in a film's esthetics a caipira's Weltanschauung (world vision or philosophy) ? We suggest, agreeing with Benjamin who considers that narrative is the best expression of manual and traditional work's time that the story related by the film A protecao de Santo Antonio constitutes a cinematographic narrative which can be classified as caipira. Tenderly called by the audiences Santo Antonio e a vaca, this film was supported by a large part of the population for its making, which allowed to fill in the lack of technical and financial resources. Here, we defend the idea that the visible traces of this work in this particular film, turns it into a real filmic narrative and also into a sincere tribute to caipira culture. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-12-01 2020-12-10T16:31:28Z 2020-12-10T16:31:28Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://dx.doi.org/10.4000/caravelle.399 Caravelle-cahiers Du Monde Hispanique Et Luso-bresilien. Toulouse: Presses Univ Mirail, n. 99, p. 147-168, 2012. 1147-6753 http://hdl.handle.net/11449/194605 10.4000/caravelle.399 WOS:000209350400008 |
url |
http://dx.doi.org/10.4000/caravelle.399 http://hdl.handle.net/11449/194605 |
identifier_str_mv |
Caravelle-cahiers Du Monde Hispanique Et Luso-bresilien. Toulouse: Presses Univ Mirail, n. 99, p. 147-168, 2012. 1147-6753 10.4000/caravelle.399 WOS:000209350400008 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
Caravelle-cahiers Du Monde Hispanique Et Luso-bresilien |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
147-168 |
dc.publisher.none.fl_str_mv |
Presses Univ Mirail |
publisher.none.fl_str_mv |
Presses Univ Mirail |
dc.source.none.fl_str_mv |
Web of Science reponame:Repositório Institucional da UNESP instname:Universidade Estadual Paulista (UNESP) instacron:UNESP |
instname_str |
Universidade Estadual Paulista (UNESP) |
instacron_str |
UNESP |
institution |
UNESP |
reponame_str |
Repositório Institucional da UNESP |
collection |
Repositório Institucional da UNESP |
repository.name.fl_str_mv |
Repositório Institucional da UNESP - Universidade Estadual Paulista (UNESP) |
repository.mail.fl_str_mv |
|
_version_ |
1808128722397560832 |