Banca de DEFESA: Miriam Silvestre Limeira

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
STUDENT : Miriam Silvestre Limeira
DATE: 27/07/2022
TIME: 14:00
LOCAL: PPGHIS
TITLE:

BETWEEN THE EPIC AND THE COMIC: Brazilian cinema, humor and history

KEY WORDS:

Brazilian Cinema - Theory of History - Theory of Laughter - Film Studies - Cinema and History - Filmic Genres - Historical Comedy

PAGES: 277
BIG AREA: Ciências Humanas
AREA: História
SUMMARY:

This research aims at reflecting upon varied forms of historical accounts, namely, those manifest in Brazilian comic films of various periods. The articulation proposed herein contemplates two filmic genres (the comedy and the historic film) as media capable of conveying images and messages akin to certain forms of historic apprehension. It is possible to reflect upon themes bearing on the History of Brazil which were elaborated upon in comedies in Brazilian cinematography. The concept of filmic genre and its ramifications point to the richness of what lies behind the historical model and its narrative possibilities when associated with comedy. Which perceptions of history are being conveyed in comedy and farce? What is the being laughed at as regards history in Brazilian cinema? These two questions governed this investigation. All the minutiae detailed in this web of possibilities reveal the complexity of the object so as to establish relations between comedy, cinema and history with a focus on the Brazilian cinematography. As for the sources elected, three films which challenge the conventions of the historical genre through comedy were analyzed, in which the rhetorical use of metalanguage is present: Carnaval Atlântida (1952, directed by José Carlos Burle), Ladrões de cinema (1977, directed by Fernando Coni Campos) and A primeira missa ou tristes tropeços, enganos e urucum (2014, directed by Ana Carolina Teixeira Soares). Not only to these films discuss history but also the conditions of Brazilian filmic production at the time of their footage. In these films, the connexions between the elements featuring in the public imaginary about Ancient Greece, the Mineira Inconfidence and the celebration of the first mass in Brazil, whose unavoidable reference is the 1861 painting by Victor Meirelles, are explored. Hayden White, Jacques Rancière, Hannu Salmi and Robert A. Rosenstone are among the authors offering insights into how to weave this theoretical proposal in which comic cinema is conceived of as a form of historical thought.

BANKING MEMBERS:
Presidente - 1644442 - DANIEL BARBOSA ANDRADE DE FARIA
Interno - 2544015 - MARCELO BALABAN
Externo à Instituição - ELIAS THOMÉ SALIBA - USP
Externa à Instituição - Emile Cardoso Andrade - UEG