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Contra os canhões: o cinema brasileiro na cena lusíada, do cinema novo às estéticas de guerrilha
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Resumo(s)
O artigo investiga a influência do Cinema Novo brasileiro, especialmente a obra de Glauber Rocha, nas cinematografias de resistência em Portugal. A problemática central é compreender como práticas cinematográficas insurgentes, articuladas entre Brasil, Portugal e África lusófona, se consolidam como instrumentos de contestação cultural, política e social em contextos pós-coloniais e neoliberais. O objetivo é analisar as interações históricas e estéticas entre essas cinematografias, suas metodologias de baixo orçamento, trabalho comunitário e estratégias criativas para contornar limitações estruturais, produzindo narrativas contra-hegemônicas. A metodologia combina pesquisa histórica, análise fílmica, revisão bibliográfica e observação participante em contextos de produção, ensino e exibição, incluindo o papel da Escola Superior de Teatro e Cinema (ESTC) e do Instituto Politécnico de Lisboa como polos de formação e difusão desse cinema.
Abstract - This article examines the influence of Brazil’s Cinema Novo, particularly the work of Glauber Rocha, on resistance filmmaking in Portugal, focusing on the “Aesthetics of Guerrilla” developed by contemporary Brazilian filmmakers such as Francisco Weyl. The central issue is to understand how insurgent cinematic practices, articulated across Brazil, Portugal, and the Portuguese-speaking African world, consolidate as tools for cultural, political, and social contestation in postcolonial and neoliberal contexts. The aim is to analyze historical and aesthetic interactions among these cinemas, their low-budget methodologies, community-based work, and creative strategies to overcome structural limitations, producing counter-hegemonic narratives. The methodology combines historical research, film analysis, literature review, and participant observation in production, teaching, and exhibition contexts, highlighting the role of the Lisbon Theatre and Film School (ESTC) and the Lisbon Polytechnic Institute as hubs for training and dissemination.
Abstract - This article examines the influence of Brazil’s Cinema Novo, particularly the work of Glauber Rocha, on resistance filmmaking in Portugal, focusing on the “Aesthetics of Guerrilla” developed by contemporary Brazilian filmmakers such as Francisco Weyl. The central issue is to understand how insurgent cinematic practices, articulated across Brazil, Portugal, and the Portuguese-speaking African world, consolidate as tools for cultural, political, and social contestation in postcolonial and neoliberal contexts. The aim is to analyze historical and aesthetic interactions among these cinemas, their low-budget methodologies, community-based work, and creative strategies to overcome structural limitations, producing counter-hegemonic narratives. The methodology combines historical research, film analysis, literature review, and participant observation in production, teaching, and exhibition contexts, highlighting the role of the Lisbon Theatre and Film School (ESTC) and the Lisbon Polytechnic Institute as hubs for training and dissemination.
Descrição
Palavras-chave
Cinema de guerrilha Francisco Weyl Diáspora Afrolusoamazônico Resistência Guerrilla cinema Diaspora Afro-Luso-Amazonian Resistance
Contexto Educativo
Citação
Editora
Universidade Estadual do Ceará – UECE