O México entre telas e gravuras: identidade nacional e arquivo visual no filme Rio Escondido (1947)
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Data
2019-03-13
Autores
De Fazio, Andréa Helena Puydinger
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Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa tem como objetivo analisar a circulação das várias imagens históricas que constituem as narrativas de nação mexicana, mais especificamente as que foram ressignificadas por Gabriel Figueroa e a equipe do diretor Emilio Fernández no filme Rio Escondido (1947, Dir.: Emilio Fernández). Pelo fato de o filme ter sido produzido e lançado durante o período que a historiografia denominou de a “Era de Ouro” do cinema mexicano, no início do governo de Miguel Alemán (1946-1952), partimos da hipótese de que o cinema do referido período dialogava fortemente com os projetos políticos vigentes naquele contexto, bem como com a pintura muralista das duas décadas anteriores e com outros intelectuais e artistas precedentes. De forma mais específica, acreditamos que o filme Rio Escondido também contribuiu fortemente para estes diálogos entre o Estado e as tentativas de consolidação de uma cultura dita nacional, por meio da circulação das imagens de nação, produzidas, mobilizadas e recuperadas ao longo da história mexicana para a legitimação de projetos políticos daquele presente e visando à construção do futuro do país. Em Rio Escondido, tais intenções se fazem notáveis, a nosso ver, por meio das linguagens, símbolos e representações de caráter histórico e nacionalista, expressadas por meio de imagens que retrataram eventos, “heróis”, símbolos geográficos e naturais “típicos”, produzidas desde o século XIX e que compuseram um “arquivo visual”, conforme a expressão de Zuzana Pick, da nação mexicana ao longo do tempo. No entanto, além da arte produzida por artistas nacionais, o filme também se utilizou de pinturas e imagens de artistas estrangeiros, o que configurou uma complexa relação entre os elementos do cinema mexicano e estrangeiros na produção cultural da identidade nacional mexicana.
This research aims at analyzing the circulation of the various historical images that constitute the narratives of Mexican nation, more specifically those that were restated by Gabriel Figueroa and the team of the director Emilio Fernández in the film Rio Escondido (1947, Dir.: Emilio Fernández). Because the film was produced and released during the period that historiography called the "Golden Age" of Mexican cinema, in the beginning of the government of Miguel Alemán (1946-1952), we assume that the cinema of the period, had a strong dialogue with the political projects in that context, as well as the mural painting of the previous two decades and with other intellectuals and previous artists. More specifically, we believe that the film Rio Escondido also contributed strongly to these dialogues between the State and attempts to consolidate a national culture, through the circulation of the images of the nation, produced, mobilized and recovered throughout Mexican history for the legitimation of political projects of that present and for the construction of the future of the country. In Rio Escondido, such intentions are made, in our opinion, through the languages, symbols and representations of a historical and nationalistic character, expressed through images that portrayed events, "heroes", geographical and natural symbols, "typical", produced since the nineteenth century and that composed a "visual file", as the expression of Zuzana Pick of the Mexican nation over time. However, in addition to the art produced by national artists, the film also used paintings and images by foreign artists, which created a complex relationship between the elements of Mexican and foreign cinema in the cultural production of the Mexican national identity.
This research aims at analyzing the circulation of the various historical images that constitute the narratives of Mexican nation, more specifically those that were restated by Gabriel Figueroa and the team of the director Emilio Fernández in the film Rio Escondido (1947, Dir.: Emilio Fernández). Because the film was produced and released during the period that historiography called the "Golden Age" of Mexican cinema, in the beginning of the government of Miguel Alemán (1946-1952), we assume that the cinema of the period, had a strong dialogue with the political projects in that context, as well as the mural painting of the previous two decades and with other intellectuals and previous artists. More specifically, we believe that the film Rio Escondido also contributed strongly to these dialogues between the State and attempts to consolidate a national culture, through the circulation of the images of the nation, produced, mobilized and recovered throughout Mexican history for the legitimation of political projects of that present and for the construction of the future of the country. In Rio Escondido, such intentions are made, in our opinion, through the languages, symbols and representations of a historical and nationalistic character, expressed through images that portrayed events, "heroes", geographical and natural symbols, "typical", produced since the nineteenth century and that composed a "visual file", as the expression of Zuzana Pick of the Mexican nation over time. However, in addition to the art produced by national artists, the film also used paintings and images by foreign artists, which created a complex relationship between the elements of Mexican and foreign cinema in the cultural production of the Mexican national identity.
Descrição
Palavras-chave
Cinema, Identidade nacional, México, Era de Ouro, Rio Escondido, National identity, Golden Age