Oral History visits cinema: Que bom te ver viva and Los Rubios
This article aims to treat cinema, as a way of communicaüon, in its relationship with Oral History and its fies with Present Time History, attempting to tesümonies used as aesthetic and political resources inside films iike Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Brasil |
| Recursos: | Universidade Federal do Tocantins (UFT) |
| Repositorio: | Revista Observatório |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revista.uft.edu.br:article/1815 |
| Acesso em linha: | https://sistemas.uft.edu.br/periodicos/index.php/observatorio/article/view/1815 |
| Access Level: | acceso abierto |
| Palavra-chave: | Los rubios Cinema Oral History Que bom te ver viva; Los rubios Historia oral Cine História oral |
| Resumo: | This article aims to treat cinema, as a way of communicaüon, in its relationship with Oral History and its fies with Present Time History, attempting to tesümonies used as aesthetic and political resources inside films iike Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Aibertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of invesügation by studies based on Oral History is a quesüon to be answered in this article. |
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