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Abstract(s)
Este estudo busca apresentar uma reflexão sobre o realismo fantástico no cinema
latino-americano e sua contribuição para a formação de uma identidade cultural.
Partimos da concepção de fantástico proposta por Todorov e suas subdivisões:
fantástico-estranho e fantástico-maravilhoso. A partir dessa explanação, explora-se a
história e o conceito do realismo fantástico latino-americano em suas denominações
"realismo mágico", do escritor venezuelano Uslar Pietri, e "real maravilhoso", do escritor
cubano Alejo Carpentier. Finalizando o capítulo, identifica-se a dicotomia
cinematográfica entre realistas, cuja tradição se iniciou com os irmãos Lumière e ganhou
embasamento teórico com Bazin, e formalistas, representados por Sergei Eisenstein e o
precursor Georges Mélies, considerado o pai do cinema fantástico.
No segundo capítulo, adentra-se no cinema latino-americano, inicialmente
conceituando as ideias de espaço-tempo de Milton Santos e de identidade cultural de
Stuart Hall. Posteriormente, exploram-se os primórdios do cinema latino-americano,
com maior enfoque nos países Argentina, Brasil e México, e investiga-se o realismo
fantástico praticado pelos cineastas do Cinema Novo brasileiro, especialmente como
uma forma de resistência a ditadura militar, finalizando com o diálogo entre Glauber
Rocha e Gabriel García Márquez.
O terceiro capítulo propõe uma análise das obras contemporâneas do cinema
latino-americano que utilizam o realismo fantástico em suas narrativas, dividindo-as em
três categorias características: a relação com a literatura, o forte protagonismo feminino
e a ligação com culturas indígenas.
This study aims to present a reflection on fantastic realism in Latin American cinema and its contribution to the formation of a cultural identity. We start with the conception of the fantastic proposed by Todorov and its subdivisions: the uncanny and the maryeious. From this explanation, the history and concept of Latin American fantastic realism are explored in its denominations of "magical realism" by Venezuelan writer Uslar Pietri and "marvelous realism" by Cuban writer Alejo Carpentier. Concluding the chapter, the cinematic dichotomy between realists, whose tradition began with the Lumiere brothers and gained theoretical foundation with Bazin, and formalists, represented by Sergei Eisenstein and the precursor Georges Mélies, considered the father of fantastic cinema, is identified. In the second chapter, we delye into Latin American cinema, initially conceptualizing the ideas of space-time by Milton Santos and cultural identity by Stuart Hall. Subsequently, the beginnings of Latin American cinema are explored, with a greater focus on Argentina, Brazil, and Mexico. The fantastic realism practiced by the filmmakers of the Brazilian Cinema Novo, especially as a form of resistance to the military dictatorship, is investigated, concluding with the dialogue between Glauber Rocha and Gabriel García Márquez. The third chapter proposes an analysis of contemporary works of Latin American cinema that utilize fantastic realism in their narratives, dividing them into three characteristic categories: the relationship with literature, female protagonists, and the connection with indigenous cultures.
This study aims to present a reflection on fantastic realism in Latin American cinema and its contribution to the formation of a cultural identity. We start with the conception of the fantastic proposed by Todorov and its subdivisions: the uncanny and the maryeious. From this explanation, the history and concept of Latin American fantastic realism are explored in its denominations of "magical realism" by Venezuelan writer Uslar Pietri and "marvelous realism" by Cuban writer Alejo Carpentier. Concluding the chapter, the cinematic dichotomy between realists, whose tradition began with the Lumiere brothers and gained theoretical foundation with Bazin, and formalists, represented by Sergei Eisenstein and the precursor Georges Mélies, considered the father of fantastic cinema, is identified. In the second chapter, we delye into Latin American cinema, initially conceptualizing the ideas of space-time by Milton Santos and cultural identity by Stuart Hall. Subsequently, the beginnings of Latin American cinema are explored, with a greater focus on Argentina, Brazil, and Mexico. The fantastic realism practiced by the filmmakers of the Brazilian Cinema Novo, especially as a form of resistance to the military dictatorship, is investigated, concluding with the dialogue between Glauber Rocha and Gabriel García Márquez. The third chapter proposes an analysis of contemporary works of Latin American cinema that utilize fantastic realism in their narratives, dividing them into three characteristic categories: the relationship with literature, female protagonists, and the connection with indigenous cultures.
Description
Dissertação de mestrado
Keywords
Realismo fantástico Cinema latino-americano Cinema novo Identidade cultural Fantastic realism Latin american cinema Cultural identity