As resistências em filmes brasileiros sobre a ditadura civil-militar (1979 – 2021): o método arqueogenealógico na análise de discursos audiovisuais
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2022-05-31
Autores
Cól, Rafael Marcurio da [UNESP]
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Universidade Estadual Paulista (Unesp)
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O cinema brasileiro foi e é palco para inúmeras manifestações artísticas, por ser um espaço real que tem a possibilidade de se abrir para outros, pois é uma heterotopia (FOUCAULT, 1967). Este espaço é composto de imagens, sons e movimentos, e isto o possibilita reconstruir memórias, que estavam espalhadas pela dinamicidade da vida contemporânea. Ao reorganizar essas lembranças, o cinema se coloca em um espaço de recodificação das memórias, em específico, quando são filmes que tocam em momentos de crises da sociedade brasileira, como é o caso da ditadura civil-militar. Com isso, o cinema se resguarda como o lugar de resistência e de (re)contar as memórias que foram, por 21 anos, proibidas. Deste modo, objetivamos com esta tese compreender o cinema brasileiro como um lugar de memória (NORA, 1993), onde as resistências à ditadura se refugiam e se reconstroem, percebendo, com isso, os jogos e as estratégias de funcionamento (lembranças e esquecimentos) desta materialidade. Para cumprir com este objetivo principal, somos levados a: analisar o cinema em sua materialidade e reconfigurações das memórias sobre a ditadura; cartografar as formas de resistências à ditadura que emergem no cinema brasileiro; entender as posições que o sujeito revolucionário deve exercer para compor a resistência. Nosso corpus de estudos é constituído de filmes que tratam da resistência à ditadura como tema principal e são divididos pelas formas como abordam as memórias, por uma questão metodológica. Isto posto, os filmes foram divididos em três eixos. No primeiro, destacamos filmes que tratam de uma memória coletiva da ditadura. São eles: Paula: a história de uma subversiva (1979); Pra Frente Brasil (1982); Ação entre amigos (1998) e Cara ou Coroa (2012). O segundo eixo é constituído por filmes baseados em romances memorialistas e biografias, que são: Lamarca (1994); O que é isso companheiro? (1997); Batismo de Sangue (2004); Zuzu Angel (2006) e Marighella (2021). No terceiro e último estão os filmes baseados em depoimentos biográficos: Que bom te ver viva (1989); Araguaya: conspiração do silêncio (2004) e Torre das Donzelas (2018). A partir dos estudos discursivos derivados da fortuna teórica de Michel Foucault, buscamos pensar com o autor sobre o cinema, em sua materialidade, e em seguida, como lugar de memória, espaço este que além de memórias, é constituído de poderes, de saberes e de verdades. Assim, como sugere sua arqueogenealogia, buscamos verificar não apenas a constituição destes enunciados em relação à dispersão temporal, mas também suas relações microfísicas com o poder e as formas que estas relações de poderes afetam as constituições das subjetividades e das verdades. Isto nos possibilita um estudo que não apenas pensa nos acontecimentos dispostos em cena, mas nas condições de possibilidade que permitiram a emergência destes enunciados e não de outros em seu lugar. Em suma, estas reflexões nos possibilitam um olhar para a história do presente em sua complexidade e metamorfoses, além das ações de necropolíticas do esquecimento, visto que a extrema direita brasileira vem agenciando estas memórias à morte.
Brazilian cinema was and still is a place of countless artistic manifestations, given that it is a real space, which can open itself up to others, and it is also a heterotopia. (FOUCAULT, 1967). Said space is composed of images, sound and movement, which makes it possible to reconstruct memories that were scattered by the dynamics of modern life. By rearranging these memories, cinema recodes them, especially concerning films which address moments of crisis in Brazilian society, such as the civil-military dictatorship. Thus, cinema becomes a place of resistance and of (re)telling memories that were forbidden for 21 years. Therefore, we aim, with this thesis, to understand Brazilian cinema as a place of memory (NORA, 1993), where the forms of resistance to dictatorship seek refuge and reconstruction, observing, hence, the operating strategies (remembrance and oblivion) of this materiality. In order to fulfill this main goal, we were led: to analyse cinema in its concreteness and the reconfiguration of the memories of the dictatorship; to map the forms of resistance to dictatorship that appear in Brazilian cinema; and to understand the positions that revolutionaries must occupy in the resistance. Our corpus consists of films that have the resistance to the dictatorship as their main theme, and they were divided into three groups, according to their approach to memory, due to methodological reasons. In the first one are films that address the collective memory of dictatorship: Paula: a história de uma subversiva (1979); Pra Frente Brasil (1982); Ação entre amigos (1998) and Cara ou Coroa (2012). The second one is composed of films based on memoirs and biographies: Lamarca (1994); O que é isso companheiro? (1997); Batismo de Sangue (2004); Zuzu Angel (2006) and Marighella (2021). The third and last one comprises films based on biographical statements: Que bom te ver viva (1989); Araguaya: conspiração do silêncio (2004) and Torre das Donzelas (2018). With the support of the discursive studies derived from Michel Foucault’s theories, we have tried to think about cinema in its concreteness, and next, as a place of memory, a place composed of memories, but also of knowledge and truth. Therefore, as his archeogenealogy suggests, we seek to analyze not only the constitution of these utterances with respect to temporal dispersion, but also its microphysical relationships to power, and how these power relations affect the construction of subjectivities and of truth. Said approach makes it possible not only to think about the events depicted in the scenes, but also about the conditions which allowed these utterances, and not others, to exist. In conclusion, these considerations allow us to look at present history in all its complexity and all its changes, going beyond the actions of the necropolitics of oblivion, which has recently been causing the death of memories by the hand of Brazilian far right members
Le cinéma brésilien est et a été le théâtre de nombreuses manifestations artistiques, tant qu’il est une hétérotopie (FOUCAULT, 1967). Cet espace se compose d’images, sons et mouvements, étant donc possible de reconstruire les souvenirs dispersées par le dynamisme de la vie moderne. En réorganisant ces souvenirs, le cinéma devient un lieu de recodage de la mémoire, en particulier lorsqu’il s’agit des films qui traitent des temps de crise de la société brésilienne, comme c’est le cas de la dictature civile-militaire. Ainsi, le cinéma devient un lieu de résistance et de raconter les souvenirs qui ont été interdits pendant 21 ans. Donc, cette thèse a comme objectif de comprendre le cinéma brésilien comme um lieu de mémoire (NORA, 1993), où les résistances à la dictature se réfugient et se reconstruisent, faisant remarquer les stratégies de fonctionnement (souvenirs et oublis) de cette matérialité. Pour atteindre cet objectiv, nous allons: analyser le cinéma dans sa matérialité et les reconfigurations des souvenirs de la dictature; cartographier les formes de résistance à la dictature qui émergent dans le cinéma brésilien; comprendre les positions qui doivent être occupées par le sujet révolutionnaire. Notre corpus est composé des films qui ont la résistance à la dictature pour sujet principal, et a été divisé selon l’approche des souvenirs, pour des raisons méthodologiques. Les films ont été divisés en trois axes. Le premier contient des films qui abordent la mémoire collective de la dictature: Paula: a história de uma subversiva (1979); Pra Frente Brasil (1982); Ação entre amigos (1998) et Cara ou Coroa (2012). Le deuxième se compose des films basés sur des romans et biographies: Lamarca (1994); O que é isso companheiro? (1997); Batismo de Sangue (2004); Zuzu Angel (2006) et Marighella (2021). Dans le troisième sont les films basés sur des témoignages biographiques: Que bom te ver viva (1989); Araguaya: conspiração do silêncio (2004) et Torre das Donzelas (2018). À partir des études discursifs de Michel Foucault, nous avons essayé de réfléchir sur le cinema, dans as materialité, et ensuite, comme un lieu de mémoire, un espace constitué de souvenirs, et aussi de pouvoirs, savoirs et vérités. Alors, selon la suggestion de la archéogénéalogie de l’auteur, nous cherchons à vérifier pas uniquement la constitution de ces enoncés par rapport à la dispersion temporale, mais également ses rapports microphysiques avec le pouvoir, et comme ces rapports affectent la constructions des subjectivités et des vérités. Cela nous permet de penser aux événements sur les scènes, et en plus aux conditions qui ont facilité l’irruption de ces enoncés, et pas celle d’autres à sa place. En conclusion, ces réflexions rendent possible de regarder l’histoire présente, dans as complexité et ses métamorphoses, en dehors des actions de la nécropolitique de l’oubli, pourvu que l’extrême-droite brésilienne essaie d’effacer ces souvenirs
Brazilian cinema was and still is a place of countless artistic manifestations, given that it is a real space, which can open itself up to others, and it is also a heterotopia. (FOUCAULT, 1967). Said space is composed of images, sound and movement, which makes it possible to reconstruct memories that were scattered by the dynamics of modern life. By rearranging these memories, cinema recodes them, especially concerning films which address moments of crisis in Brazilian society, such as the civil-military dictatorship. Thus, cinema becomes a place of resistance and of (re)telling memories that were forbidden for 21 years. Therefore, we aim, with this thesis, to understand Brazilian cinema as a place of memory (NORA, 1993), where the forms of resistance to dictatorship seek refuge and reconstruction, observing, hence, the operating strategies (remembrance and oblivion) of this materiality. In order to fulfill this main goal, we were led: to analyse cinema in its concreteness and the reconfiguration of the memories of the dictatorship; to map the forms of resistance to dictatorship that appear in Brazilian cinema; and to understand the positions that revolutionaries must occupy in the resistance. Our corpus consists of films that have the resistance to the dictatorship as their main theme, and they were divided into three groups, according to their approach to memory, due to methodological reasons. In the first one are films that address the collective memory of dictatorship: Paula: a história de uma subversiva (1979); Pra Frente Brasil (1982); Ação entre amigos (1998) and Cara ou Coroa (2012). The second one is composed of films based on memoirs and biographies: Lamarca (1994); O que é isso companheiro? (1997); Batismo de Sangue (2004); Zuzu Angel (2006) and Marighella (2021). The third and last one comprises films based on biographical statements: Que bom te ver viva (1989); Araguaya: conspiração do silêncio (2004) and Torre das Donzelas (2018). With the support of the discursive studies derived from Michel Foucault’s theories, we have tried to think about cinema in its concreteness, and next, as a place of memory, a place composed of memories, but also of knowledge and truth. Therefore, as his archeogenealogy suggests, we seek to analyze not only the constitution of these utterances with respect to temporal dispersion, but also its microphysical relationships to power, and how these power relations affect the construction of subjectivities and of truth. Said approach makes it possible not only to think about the events depicted in the scenes, but also about the conditions which allowed these utterances, and not others, to exist. In conclusion, these considerations allow us to look at present history in all its complexity and all its changes, going beyond the actions of the necropolitics of oblivion, which has recently been causing the death of memories by the hand of Brazilian far right members
Le cinéma brésilien est et a été le théâtre de nombreuses manifestations artistiques, tant qu’il est une hétérotopie (FOUCAULT, 1967). Cet espace se compose d’images, sons et mouvements, étant donc possible de reconstruire les souvenirs dispersées par le dynamisme de la vie moderne. En réorganisant ces souvenirs, le cinéma devient un lieu de recodage de la mémoire, en particulier lorsqu’il s’agit des films qui traitent des temps de crise de la société brésilienne, comme c’est le cas de la dictature civile-militaire. Ainsi, le cinéma devient un lieu de résistance et de raconter les souvenirs qui ont été interdits pendant 21 ans. Donc, cette thèse a comme objectif de comprendre le cinéma brésilien comme um lieu de mémoire (NORA, 1993), où les résistances à la dictature se réfugient et se reconstruisent, faisant remarquer les stratégies de fonctionnement (souvenirs et oublis) de cette matérialité. Pour atteindre cet objectiv, nous allons: analyser le cinéma dans sa matérialité et les reconfigurations des souvenirs de la dictature; cartographier les formes de résistance à la dictature qui émergent dans le cinéma brésilien; comprendre les positions qui doivent être occupées par le sujet révolutionnaire. Notre corpus est composé des films qui ont la résistance à la dictature pour sujet principal, et a été divisé selon l’approche des souvenirs, pour des raisons méthodologiques. Les films ont été divisés en trois axes. Le premier contient des films qui abordent la mémoire collective de la dictature: Paula: a história de uma subversiva (1979); Pra Frente Brasil (1982); Ação entre amigos (1998) et Cara ou Coroa (2012). Le deuxième se compose des films basés sur des romans et biographies: Lamarca (1994); O que é isso companheiro? (1997); Batismo de Sangue (2004); Zuzu Angel (2006) et Marighella (2021). Dans le troisième sont les films basés sur des témoignages biographiques: Que bom te ver viva (1989); Araguaya: conspiração do silêncio (2004) et Torre das Donzelas (2018). À partir des études discursifs de Michel Foucault, nous avons essayé de réfléchir sur le cinema, dans as materialité, et ensuite, comme un lieu de mémoire, un espace constitué de souvenirs, et aussi de pouvoirs, savoirs et vérités. Alors, selon la suggestion de la archéogénéalogie de l’auteur, nous cherchons à vérifier pas uniquement la constitution de ces enoncés par rapport à la dispersion temporale, mais également ses rapports microphysiques avec le pouvoir, et comme ces rapports affectent la constructions des subjectivités et des vérités. Cela nous permet de penser aux événements sur les scènes, et en plus aux conditions qui ont facilité l’irruption de ces enoncés, et pas celle d’autres à sa place. En conclusion, ces réflexions rendent possible de regarder l’histoire présente, dans as complexité et ses métamorphoses, en dehors des actions de la nécropolitique de l’oubli, pourvu que l’extrême-droite brésilienne essaie d’effacer ces souvenirs
Descrição
Palavras-chave
Cinema brasileiro, Ditadura Civil-Militar, método arqueogenealógico, lugar de memória, Brazilian cinema, civil-military dictatorship, archeogenealogic method, place of memory, Cinéma brésilien, dictature civile-militaire, méthode archéogénéalogique, lieu de mémoire