Autorrepresentação de cineastas negras no curta-metragem nacional contemporâneo
This work investigates the construction of narratives of self-representation in contemporary Brazilian short films made by black filmmakers. We argue that such narratives affirm discourses about gender and race and challenge the stereotyped representations of women and black people, usually made by...
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| Formato: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | Brasil |
| Recursos: | Universidade Federal de Sergipe (UFS) |
| Repositorio: | Repositório Institucional da UFS |
| Idioma: | portugués |
| OAI Identifier: | oai:oai:ri.ufs.br:repo_01:riufs/10168 |
| Acesso em linha: | http://ri.ufs.br/jspui/handle/riufs/10168 |
| Access Level: | acceso abierto |
| Palavra-chave: | Cinema brasileiro Crítica e interpretação Curta-metragem Diretores e produtores de cinema Kbela (Filme) Elekô (Filme) Autorrepresentação Cineastas negras Brazilian cinema Negros no cinema Contemporary short film Self-representation Black filmmakers LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA |
| Resumo: | This work investigates the construction of narratives of self-representation in contemporary Brazilian short films made by black filmmakers. We argue that such narratives affirm discourses about gender and race and challenge the stereotyped representations of women and black people, usually made by Brazilian cinema with a big box office. For this, we start from the discussions about the concepts of identity, difference and self-representation, proposed by Cultural Studies and by decoloniais theorists, in order to problematize the narratives of themselves in contemporary cinema. We also rely on film theories to discuss race and gender and the black-belt milestones in Brazil, where the black women's constructions in the box-office cinema stand out. Finally, to cross the creative universe of these films, we analyze the narratives of self-representation and the politics of the collective in short films Kbela (2015) and Elekô (2015), based on the methodological procedures proposed by Francisco Elinaldo Teixeira (2012) and approach to the Theory of Filmmakers, by Manuela Penafria, André Rui Graça and Eduardo Tulio Baggio (2015). |
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