Resumen de Traje de identidade nacional entre documentário etnográfico e narração
The Russian anthropologist Pëtr Bogatyrëv (1893–1971) in 1939 has written a text about folkloric costumes fromSlovakia Moravia where he putted at opposite sides, fashion with costumes so he discovered strong contrastsbetween the two phenomenon: while the first one has got a meaning only in function of the changing and breakingwith the past, the second one lives thanks to permanence and tradition. This last way of dressing, the one fromfolkloric costumes, so firm and predictable, has picked the attention up of Bogatyrev, who has researched until hediscovered the five functions of the folkloric costume: aesthetic, practice, erotic, magic and regional.In its intersection with ethno-fiction cinema, genre between ethnographic documentary and ethnic narration, thenational identity costume presents many interesting aspects still anyone from Seventh art has investigated.In the costume and fashion’s cinematographic analyse, we recognize, according to Fashion Theory, three analyselevels: filmic, cinematographic and extra-cinematographic. Through these levels it’s possible to bring the costumesback to possible meanings that, if on the one hand they are already presents in the clothing theirselves, on the otherthey are expressed trough the filmic language, underlinded by the director and influenced by a specific culturalperiod.With the comparated analyse of Trilogia do mar by Leitão de Barros and of Trilogia da montanha by António Reise Margarida Cordeiro, I’ll do the point of the situation to analyse filmed costumes in relation with the differencesbetween fishermen and peasant’s communities.
