Cultura e política no Clube de Cinema de Assis: um projeto de formação e interiorização da cultura cinematográfica (1960 – 1983)
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Data
2016-08-03
Autores
Sales, Priscila Constantino [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Na presente dissertação buscamos abordar as práticas desenvolvidas pelo Clube de Cinema de Assis de 1960 a 1983. Mais precisamente, seus projetos político-culturais e sua relação com o movimento cineclubista, bem como com o campo cinematográfico. Para tanto, buscamos analisar as configurações históricas e estéticas que possibilitaram a emergência do olhar cinematográfico e a formação dos espaços de sociabilidade dedicados ao cinema que, inseridos no campo da cultura e da arte, não estiveram isentos de disputas de interesses. Os cineclubes surgem no início do século XX, emergindo no processo de legitimação cultural do cinema, tendo como especificidade a organização do público em torno da imagem cinematográfica. O que em seu início foi um movimento restrito, a partir de 1950 irá se multiplicar e se organizar em instituições representativas de seus interesses, tendo como principais atividades a divulgação, pesquisa e debate do cinema e seus desdobramentos sociais e políticos. É dentro dessa rede de saberes e fazeres cinematográficos que localizamos a trajetória do Clube de Cinema de Assis. Surgido no meio universitário e pensando o cinema enquanto manifestação cultural, o Clube de Cinema inaugurou uma nova forma de recepção na cidade de Assis. Trata-se de um projeto de formação e democratização da cultura cinematográfica que a partir da década de 1970 agregou o engajamento político. Propomo-nos, assim, compreender a trajetória do Clube de Cinema de Assis dentro da instituição da Faculdade de Ciências e Letras de Assis, bem como seu significado para a cidade, do ponto de vista da produção de debates, da formação de um público crítico, do comprometimento com o cinema de arte e com temáticas sociais, e a defesa do Cinema brasileiro. Em suma, o papel do Clube de Cinema para a interiorização do cinema cultural.
In this dissertation we seek to approach the practices carried out by Assis Film Society from 1960 to 1983. More precisely, its political-cultural projects and their relationship with the film society movement, as much as with the cinematographic field. To do so, we tried to analyze the historical and aesthetic configurations which enabled the development of a cinematographic point of view and the formation of sociability spaces oriented towards the cinema that, being part of the field of culture and art, were not free from disputes of interest. The film societies appear in the beginning of the 20th century, arising from the process of cultural legitimation of the cinema, having as its specificity the public organization around the cinematographic image. What was in the beginning a limited movement, it will, from 1950, multiply and organized itself in institutions representative of its interests, having as their chief activities the propagation of, the research about and the debate over the cinema and its political and social consequences. It is in this network of knowledges and practices that we locate the Assis Film Society. Originated in the University and considering the cinema a cultural manifestation, the Film Sociey inaugurated a new way of reception in Assis town: a project of formation and democratization of cinematographic culture which, from the 1970s, had the accretion of political engagement. Thus we set out to understand the trajectory of Assis Film Society in Assis College of Science and Letters, as well as its meaning to the town, considering the production of debates, the formation of a dissenting public, the compromise with the cinema as art and with social themes, and the defense of the Brazilian cinema,to sum up, the role of the Film Society to interiorize the cultural cinema.
In this dissertation we seek to approach the practices carried out by Assis Film Society from 1960 to 1983. More precisely, its political-cultural projects and their relationship with the film society movement, as much as with the cinematographic field. To do so, we tried to analyze the historical and aesthetic configurations which enabled the development of a cinematographic point of view and the formation of sociability spaces oriented towards the cinema that, being part of the field of culture and art, were not free from disputes of interest. The film societies appear in the beginning of the 20th century, arising from the process of cultural legitimation of the cinema, having as its specificity the public organization around the cinematographic image. What was in the beginning a limited movement, it will, from 1950, multiply and organized itself in institutions representative of its interests, having as their chief activities the propagation of, the research about and the debate over the cinema and its political and social consequences. It is in this network of knowledges and practices that we locate the Assis Film Society. Originated in the University and considering the cinema a cultural manifestation, the Film Sociey inaugurated a new way of reception in Assis town: a project of formation and democratization of cinematographic culture which, from the 1970s, had the accretion of political engagement. Thus we set out to understand the trajectory of Assis Film Society in Assis College of Science and Letters, as well as its meaning to the town, considering the production of debates, the formation of a dissenting public, the compromise with the cinema as art and with social themes, and the defense of the Brazilian cinema,to sum up, the role of the Film Society to interiorize the cultural cinema.
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Palavras-chave
Clube de Cinema de Assis, Cineclubismo, Cinema, Cultura Cinematográfica, Ditadura militar, Assis Film Society, Film Society Movement, Cinema, Cinematographic Culture, Memory, Militar Dictatorship