Mundialização no Cinema da Retomada: hibridação cultural e antropofagia como enunciação da identidade e alteridade

• Autores: Eduardo Dias Fonseca
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 623-631
• Idioma: varios idiomas
• Texto completo no disponible (Saber más ...)
• Resumen

  • The constant and rapid changes in the contemporary world generate movements related to the globalization of theeconomies that operate in the world in a relational manner with the movements of culture, seen as the globalizationof culture. Hybridism, fueled by greater interpenetration of cultures, takes global levels redimensioning nationalnarratives. The cycle of Cinema da Retomada, that took place in Brazil during the 1990’s, has characteristics of the“mondialisation” of culture that are connected to the transnational narratives. The fall of Embrafilme and the newlegal apparatus (Lei do Audiovisual), establish a new phase in the film production in Brazil. When analyzing filmssuch as Carlota Joaquina, a princesa do Brazil (1995) Dir.: Carla Camurati, Brazil; Terra Estrangeira (1995) Dir.:Walter Salles e Daniela Thomas, Brazil; Como nascem os anjos (1996)Dir.: Murilo Salles, Brazil; Baile Perfumado(1997) Dir.: Paulo Caldas and Lírio Ferreira, Brazil and Hans Staden (1999) Dir.:Luis Alberto Pereira, Brazil it ispossible to find aspects of the interpenetration of the becoming world in the becoming Brasil and vice versa. Theobserving of the different moments of the Brazilian Cinema and the “Antropofagia” (anthropophagy) movement ledby Oswald de Andrade during the 1920 ́s, both seen as cultural asset of the nation, could be found in negotiationwith the films produced during the Cinema da Retomada.