2009
DOI: 10.30962/ec.304
|View full text |Cite
|
Sign up to set email alerts
|

A presença de “Iracema, uma transa amazônica” (1974) no cinema brasileiro

Abstract: Configurando práticas discursivas presentes na hierarquia social brasileira, as categorias raciais encontram-se na estrutura dramática de diversos filmes nacionais. Este trabalho pretende analisar o filme Iracema, uma transa amazônica (1974), dos diretores Jorge Bodansky e Orlando Senna, para compreender como as retóricas do nacional e da raça complementam-se e se contradizem. Partimos da hipótese de que o filme articula uma transição entre duas formações discursivas: a do nacional-popular e a identitária.

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1

Citation Types

0
1
0

Year Published

2019
2019
2019
2019

Publication Types

Select...
1

Relationship

0
1

Authors

Journals

citations
Cited by 1 publication
(1 citation statement)
references
References 0 publications
0
1
0
Order By: Relevance
“…Iracema, who has suffered considerable abuse in the meantime, is now missing a tooth, but still feisty enough despite her deteriorated condition to send Tião ‘Brasil Grande’ on his way under a shower of insults. The film is powerful as an inversion of the original Iracema allegory and its racial categories (Lapera, 2008), but it also offers an exploration of what local people thought about the social, gendered and environmental violence of capitalist development that remains all too relevant today. One of its other most memorable scenes is when Sebastian and Iracema stop to bathe in the river, in happier times.…”
Section: Brazil: the Durable Foundations Of A Politics Of Hatementioning
confidence: 99%
“…Iracema, who has suffered considerable abuse in the meantime, is now missing a tooth, but still feisty enough despite her deteriorated condition to send Tião ‘Brasil Grande’ on his way under a shower of insults. The film is powerful as an inversion of the original Iracema allegory and its racial categories (Lapera, 2008), but it also offers an exploration of what local people thought about the social, gendered and environmental violence of capitalist development that remains all too relevant today. One of its other most memorable scenes is when Sebastian and Iracema stop to bathe in the river, in happier times.…”
Section: Brazil: the Durable Foundations Of A Politics Of Hatementioning
confidence: 99%