The past and its point of departure. A review of A luta armada no cinema: ficção, documentário, memória, by Fernando Seliprandy

Authors

DOI:

https://doi.org/10.11606/issn.2316-7114.sig.2016.108458

Keywords:

Brazilian cinema, military dictatorship, armed struggle, Bruno Barreto, Silvio Da-Rin

Abstract

A luta armada no cinema: ficção, documentário, memória compares two films about the same historical event: the kidnapping of American ambassador Charles Elbrick in 1969 by the Revolutionary Movement 8th October (MR-8) and the National Liberation Alliance (ALN). Through four chapters, Fernando Seliprandy interrogates both the “historical fiction” O que é isso, companheiro? (Bruno Barreto, 1997) and the “documentary” Hércules 56 (Silvio Da-Rin, 2006), in a serious work. The author proposes an original treatment of the strategies used by both films; of the oppositions created by the two narratives; of the “past” that each one of them recreates; and of the possible relations between the images of memory and the context where they were produced

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Author Biography

  • Lúcia Ramos Monteiro
    Lucia Ramos Monteiro has a PhD in Film Studies (2014, Université Sorbonne Nouvelle Paris 3 and Universidade de São Paulo). She worked as lecturer at Paris 3 University (France) and as visiting professor at Universidad de las Artes (Ecuador). She is the co-editor of the book "Yes, it's cinema. Forms and espaces of the moving image" (Campanotto, 2008) and has published a series of articles about cinema and contemporary art, cinema and catastrophe, Jia Zhang-ke, Chinese cinema, Latin American cinema, "post-cinema", the contemporary use of film archive, etc.

References

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COMISIÓN NACIONAL SOBRE LA DESAPARICIÓN DE PERSONAS. Nunca más: informe de la Conadep. 8a. Ed.. Buenos Aires: Eudeba, 2011.

CURRIE, G. “Ficções visuais”. In. RAMOS, F. P. (org.), Teoria contemporânea do cinema: pós-estruturalismo e filosofia analítica, vol. 1, São Paulo: Editora do Senac, 2005.

FERRO, M. “O filme: uma contra-análise da sociedade?”. In. Cinema e história, 2a ed. São Paulo: Paz e Terra, 2010.

GABEIRA, F. O crepúsculo do macho. 13a. ed. Rio de Janeiro: Codecri, 1980.

____________. O que é isso, companheiro? São Paulo: Cia. das Letras, 1997.

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___________. A ditadura escancarada. São Paulo: Cia. das Letras: 2003.

___________. A ditadura encurralada. São Paulo: Cia. das Letras: 2004.

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ODIN, R. “Film documentaire, lecture documentarisante”. In. LYANT, J. C. (ed.), Cinémas et réalités. Saint-Etienne: Université de Saint-Etienne, 1984, p. 263-278.

RAMOS, F. Mas afinal... o que é mesmo o documentário? São Paulo: Editora Senac, 2008.

REIS FILHO, D. A. A revolução faltou ao encontro: os comunistas no Brasil. São Paulo: Editora Brasiliense, 1990.

________________. “Versões e ficções: a luta pela apropriação da memória”. In. REIS FILHO, D. A. et al. Versões e ficções: o sequestro da história. São Paulo: Editora Fundação Perseu Abramo, 1997, p. 102-103.

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_________. Temps et récit. Paris: Éditions du Seuil, 1983, tomo 1.

SELIPRANDY, F. A luta armada no cinema: ficção, documentário, memória. São Paulo: Intermeios, 2015.

WALTON, K. Mimesis as Make-Believe: on the Foundations of the Representational Arts (Cambridge: Harvard University Press, 1990).

___________. “Temores fictícios”. In. RAMOS, F. P. (org.), Teoria contemporânea do cinema: pós-estruturalismo e filosofia analítica, vol. 1, São Paulo: Editora do Senac, 2005.

VEYNE, P. Comment on écrit l’histoire, Paris, Seuil, 1971.

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Published

2016-08-22

Issue

Vol. 43 No. 45 (2016): Dossiê: A pesquisa em cultura audiovisual: novos desafios e aportes teóricos

Section

Reviews

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Copyright (c) 2016 Lúcia Ramos Monteiro

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How to Cite

The past and its point of departure. A review of A luta armada no cinema: ficção, documentário, memória, by Fernando Seliprandy. (2016). Significação: Journal of Audiovisual Culture, 43(45), 340-349. https://doi.org/10.11606/issn.2316-7114.sig.2016.108458