Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag documentaire</title>
	<link>https://atlante.univ-lille.fr/tag/documentaire</link>
	<language>fr</language>
	<description></description>
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	<lastBuildDate>Thu, 21 Jun 2018 13:53:00 +0200</lastBuildDate>
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		<title>15. La entrada del cine moderno en Maranhão (Brasil) &lt;em&gt;Tambor de Crioula&lt;/em&gt; y &lt;em&gt;Bandeiras Verdes&lt;/em&gt; de Murilo Santos</title> 
		<link>https://atlante.univ-lille.fr/15-la-entrada-del-cine-moderno-en-maranha-o-brasil-tambor-de-crioula-y-bandeiras-verdes-de-murilo-santos.html</link>
		<guid>https://atlante.univ-lille.fr/15-la-entrada-del-cine-moderno-en-maranha-o-brasil-tambor-de-crioula-y-bandeiras-verdes-de-murilo-santos.html</guid>
		<description>&lt;div class=&quot;page&quot; title=&quot;Page 1&quot;&gt;
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&lt;div class=&quot;column&quot;&gt;
&lt;p&gt;Miguel &amp;Aacute;ngel Lomillos Garc&amp;iacute;a &lt;br /&gt;Universidade Federal do Maranh&amp;atilde;o, Brasil&amp;nbsp;&lt;br /&gt;p. 302-327. &amp;nbsp;&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;
&lt;/div&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Miguel &amp;Aacute;ngel LOMILLOS GARC&amp;Iacute;A, &amp;laquo;&amp;nbsp;L&amp;rsquo;arriv&amp;eacute;e du cin&amp;eacute;ma moderne au Maranh&amp;atilde;o (Br&amp;eacute;sil)&amp;nbsp;: &lt;em&gt;Tambor de Crioula&lt;/em&gt; et &lt;em&gt;Bandeiras Verdes&lt;/em&gt;, de Murilo Santos&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;&lt;/strong&gt;. Cet article aborde quatre films documentaires de Murilo Santos, un cin&amp;eacute;aste pionnier de l&amp;rsquo;&amp;Eacute;tat de Maranh&amp;atilde;o, au Br&amp;eacute;sil. Il s&amp;rsquo;agit en r&amp;eacute;alit&amp;eacute; de deux diptyques&amp;nbsp;compos&amp;eacute;s chacun d&amp;rsquo;un film original et d&amp;rsquo;un second film qui&amp;nbsp; revisite le premier quelques d&amp;eacute;cennies plus tard&amp;nbsp;: d&amp;rsquo;une part, &lt;em&gt;Tambor de Crioula&lt;/em&gt; (1979) et&amp;nbsp;&lt;em&gt;Afinado a fogo: Tambor de Crioula revisitado&lt;/em&gt; (2009); d&amp;rsquo;autre part &lt;em&gt;Bandeiras Verdes&lt;/em&gt; (1987) et&amp;nbsp;&lt;em&gt;Fronteira de imagens&lt;/em&gt; (2010). Outre les repr&amp;eacute;sentations culturelles et sociales qui sont &amp;eacute;voqu&amp;eacute;es dans ces documentaires (manifestations culturelles des communaut&amp;eacute;s noires, exploitation, conflits ruraux, etc.) et leurs implications techniques, &amp;eacute;thiques et esth&amp;eacute;tiques, leur public le plus important est &amp;eacute;galement pris en compte &amp;ndash; les acteurs sociaux et les populations pauvres de Maranh&amp;atilde;o elles-m&amp;ecirc;mes &amp;ndash; public auquel le r&amp;eacute;alisateur pr&amp;eacute;sente ses travaux audiovisuels.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots-cl&amp;eacute;s.&lt;/strong&gt;&amp;nbsp;Cin&amp;eacute;ma br&amp;eacute;silien, Documentaire, Maranh&amp;atilde;o, Intertextualit&amp;eacute;.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Miguel &amp;Aacute;ngel LOMILLOS GARC&amp;Iacute;A, &lt;/strong&gt;&lt;strong&gt;&amp;ldquo;La entrada del cine moderno en Maranh&amp;atilde;o (Brasil):&lt;/strong&gt;&lt;strong&gt;&lt;em&gt;Tambor de Crioula&lt;/em&gt;&lt;/strong&gt;&lt;strong&gt; et &lt;em&gt;Bandeiras Verdes&lt;/em&gt;, de Murilo Santos&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Resumen&lt;/strong&gt;. Este art&amp;iacute;culo analiza cuatro films documentales de Murilo Santos, un cineasta pionero del Estado de Maranh&amp;atilde;o en Brasil. En realidad se trata de dos d&amp;iacute;pticos, el film original y otro que lo revisita d&amp;eacute;cadas despu&amp;eacute;s: por un lado,&amp;nbsp;&lt;em&gt;Tambor de Crioula&lt;/em&gt; (1979) y&amp;nbsp;&lt;em&gt;Afinado a fogo: Tambor de Crioula revisitado&lt;/em&gt; (2009); por otro lado, &lt;em&gt;Bandeiras Verdes&lt;/em&gt; (1987) y&amp;nbsp;&lt;em&gt;Fronteira de imagens&lt;/em&gt; (2010). Adem&amp;aacute;s de las representaciones sociales y culturales que Murilo Santos aborda en sus documentales &amp;ndash; manifestaciones culturales de comunidades negras, explotaci&amp;oacute;n, conflictos rurales, etc. &amp;ndash; y sus implicaciones t&amp;eacute;cnicas, est&amp;eacute;ticas y &amp;eacute;ticas, se analiza tambi&amp;eacute;n el p&amp;uacute;blico m&amp;aacute;s primordial &amp;ndash; los propios actores sociales y gente pobre de Maranh&amp;atilde;o &amp;ndash; a quienes el director presenta su trabajo audiovisual.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras claves.&lt;/strong&gt;&amp;nbsp;Cine brasile&amp;ntilde;o, Documental, Maranh&amp;atilde;o, Intertextualidad.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Miguel &amp;Aacute;ngel LOMILLOS GARC&amp;Iacute;A, &amp;ldquo;The Arrival of Modern Cinema in Maranh&amp;atilde;o &lt;/strong&gt;&lt;strong&gt;(Brazil):&lt;/strong&gt;&lt;strong&gt;&lt;em&gt;Tambor de Crioula&lt;/em&gt;&lt;/strong&gt;&lt;strong&gt; and &lt;em&gt;Bandeiras Verdes&lt;/em&gt;, by Murilo Santos&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Abstract.&lt;/strong&gt; This article analyses four documentary films by the pioneer filmmaker Murilo Santos from Maranh&amp;atilde;o state in Brazil. More precisely, we will examine&amp;nbsp; two diptychs composed each one by an original film and a second one revisiting the first some decades later. In the first place, &lt;em&gt;Tambor de Crioula&lt;/em&gt; (1979) and its rejoinder &lt;em&gt;Afinado a fogo: Tambor de Crioula revisitado&lt;/em&gt; (2009). In the second place, &lt;em&gt;Bandeiras Verdes&lt;/em&gt; (1987) and &lt;em&gt;Fronteira de imagens&lt;/em&gt; (2010). It will be analysed how Santos&amp;rsquo; documentaries explore social and cultural representations (black communities&amp;rsquo; cultural manifestations, exploitation, rural conflicts, etc.) and their technical, ethical and aesthetical implications. The reception of Santos&amp;rsquo; audio-visual work is also analysed through its very first audiences: Maranh&amp;atilde;o state&amp;rsquo;s poor people and social actors.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords.&lt;/strong&gt;&amp;nbsp;Brazilian film, Documentary, Maranh&amp;atilde;o, Intertextuality.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_7_15.pdf&quot; target=&quot;_blank&quot;&gt;&lt;strong&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 3,3 Mb)&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 13:53:00 +0200</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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		<title>14. Un combat, des images: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, la question du Sahara occidental en 2012 et l’attention des Espagnols</title> 
		<link>https://atlante.univ-lille.fr/14-un-combat-des-images-hijos-de-las-nubes-la-question-du-sahara-occidental-en-2012-et-lattention-des-espagnols.html</link>
		<guid>https://atlante.univ-lille.fr/14-un-combat-des-images-hijos-de-las-nubes-la-question-du-sahara-occidental-en-2012-et-lattention-des-espagnols.html</guid>
		<description>&lt;div class=&quot;page&quot; title=&quot;Page 1&quot;&gt;
&lt;div class=&quot;layoutArea&quot;&gt;
&lt;div class=&quot;column&quot;&gt;
&lt;p&gt;Fran&amp;ccedil;ois Malveille&lt;br /&gt; Universit&amp;eacute; Paris Nanterre&amp;nbsp;&lt;br /&gt;&amp;Eacute;tudes romanes &amp;ndash; CRIIA EA 369&amp;nbsp;&lt;br /&gt;p. 276-301.&amp;nbsp;&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;
&lt;/div&gt;&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;Fran&amp;ccedil;ois MALVEILLE, &amp;laquo;&amp;nbsp;Un combat, des images&amp;nbsp;: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, la question du Sahara occidental en 2012 et l&amp;rsquo;attention des Espagnols&amp;nbsp;&amp;raquo;.&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;R&amp;eacute;sum&amp;eacute;&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;FR&quot;&gt;. Le Sahara occidental est un territoire qui n&amp;rsquo;a pas pu exercer son droit &amp;agrave; l&amp;rsquo;autod&amp;eacute;termination affirm&amp;eacute; par l&amp;rsquo;ONU en 1965. L&amp;rsquo;Espagne s&amp;rsquo;en est retir&amp;eacute;e en 1976 et le Maroc a pris sa place. Cette situation est &amp;agrave; l&amp;rsquo;origine d&amp;rsquo;un mouvement de mobilisation en Espagne, particuli&amp;egrave;rement dans le milieu du cin&amp;eacute;ma, autour de l&amp;rsquo;acteur Javier Bardem. Celui-ci produit un film documentaire militant qui montre la situation du territoire en 2012 et les actions men&amp;eacute;es pour faire respecter les r&amp;eacute;solutions de l&amp;rsquo;ONU. Ce film utilise le syst&amp;egrave;me d&amp;rsquo;attention du d&amp;eacute;but du XXI&lt;sup&gt;e&lt;/sup&gt; si&amp;egrave;cle (cin&amp;eacute;ma, t&amp;eacute;l&amp;eacute;vision, Internet, r&amp;eacute;seaux sociaux&amp;hellip;) pour diffuser son message politique et peser sur les d&amp;eacute;cisions concernant ce territoire. Comme pourrait le faire une p&amp;eacute;tition, la diffusion du film, et de son message, est une action qui cherche &amp;agrave; mobiliser et &amp;agrave; obliger les acteurs politiques &amp;agrave; sortir de la &lt;em&gt;realpolitik&lt;/em&gt;. Le message du film est amplifi&amp;eacute; par la notori&amp;eacute;t&amp;eacute; de Javier Bardem et l&amp;rsquo;effet boule de neige des m&amp;eacute;dias.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;Mots-cl&amp;eacute;s.&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;FR&quot;&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;Espagne, Maroc, Sahara, Polisario, Bardem, Documentaire, Attention, M&amp;eacute;moire, Engagement, D&amp;eacute;colonisation.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;span lang=&quot;FR&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Fran&amp;ccedil;ois MALVEILLE, &amp;ldquo;Un combate, unas im&amp;aacute;genes: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, la cuesti&amp;oacute;n del Sahara occidental en 2012 y la atenci&amp;oacute;n de los espa&amp;ntilde;oles&amp;rdquo;.&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Resumen&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;. El S&amp;aacute;hara occidental es un territorio que no ha podido ejercer el derecho a la autodeterminaci&amp;oacute;n que le reconoci&amp;oacute; la ONU en 1965. Espa&amp;ntilde;a se retir&amp;oacute; en 1976 y desde entonces Marruecos ocupa dicho territorio. A consecuencia de esta situaci&amp;oacute;n existe un movimiento de movilizaci&amp;oacute;n en Espa&amp;ntilde;a, especialmente en el mundo del cine, en torno al actor Javier Bardem. &amp;Eacute;l es el productor de un documental militante que muestra la situaci&amp;oacute;n del territorio en 2012 y las acciones llevadas para obtener la aplicaci&amp;oacute;n de las resoluciones de la ONU. Esta pel&amp;iacute;cula utiliza el sistema de atenci&amp;oacute;n del siglo XXI (cine, televisi&amp;oacute;n, Internet, redes sociales&amp;hellip;) para difundir su mensaje pol&amp;iacute;tico e influir en las decisiones relacionadas con este territorio. Tal y como podr&amp;iacute;a hacerlo una campa&amp;ntilde;a de recogida de firmas, la difusi&amp;oacute;n de la pel&amp;iacute;cula y de su mensaje, es una acci&amp;oacute;n que pretende movilizar y obligar a los actores pol&amp;iacute;ticos a salir de la &lt;em&gt;realpolitik&lt;/em&gt;. La notoriedad de Javier Bardem y el efecto bola de nieve de los medios de comunicaci&amp;oacute;n amplifican el mensaje de la pel&amp;iacute;cula.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Palabras claves.&amp;nbsp;&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Espa&amp;ntilde;a, Marruecos, Sahara, Polisario, Bardem, Documental, Atenci&amp;oacute;n, Memoria, Descolonizaci&amp;oacute;n.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;Fran&amp;ccedil;ois MALVEILLE, &amp;ldquo;One Struggle, Some Pictures: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, the Issue of Western Sahara in 2012 and the Spaniards&amp;rsquo; Attention&amp;rdquo;.&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;Abstract&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;. Western Sahara is a territory that has not been able to exercise its right to self-determination confirmed by the UN in 1965. In 1976 Spain withdrew and Morocco took its place. This situation is at the origin of a political mobilization in Spain, specially notorious in the world of cinema and with performer Javier Bardem at its center. He was the producer of a militant documentary film intended to show the territory&amp;rsquo;s situation in 2012 and what has been done to enforce the UN resolutions. The film took advantage of all available communication systems at the time (Cinema, television, Internet, social networks...) to spread its political message and to influence in the decisions concerning Western Sahara. Just like a petition, the diffusion of the film and its message was an action intended to force the political actors out from &lt;em&gt;realpolitik&lt;/em&gt;. Javier Bardem&amp;rsquo;s public notoriety and the snow-ball effect of the medias were instrumental in the film&amp;rsquo;s message amplification.&amp;nbsp; &lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;Keywords.&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;EN-US&quot;&gt; Spain, Morocco, Sahara, Polisario, Bardem, documentary, attention, memory, commitment, decolonization.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_1_14.pdf&quot; target=&quot;_blank&quot;&gt;&lt;strong&gt;T&amp;eacute;l&amp;eacute;charger le num&amp;eacute;ro complet (pdf, 334 Kb)&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 13:50:00 +0200</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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