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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag maranhao
https://atlante.univ-lille.fr/tag/maranhao
frThu, 21 Jun 2018 13:53:00 +0200PluXml15. La entrada del cine moderno en Maranhão (Brasil) <em>Tambor de Crioula</em> y <em>Bandeiras Verdes</em> de Murilo Santos
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
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<div class="page" title="Page 1">
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<p>Miguel Ángel Lomillos García <br />Universidade Federal do Maranhão, Brasil <br />p. 302-327. </p>
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<p><strong>Miguel Ángel LOMILLOS GARCÍA, « L’arrivée du cinéma moderne au Maranhão (Brésil) : <em>Tambor de Crioula</em> et <em>Bandeiras Verdes</em>, de Murilo Santos ».</strong></p>
<p><strong>Résumé</strong>. Cet article aborde quatre films documentaires de Murilo Santos, un cinéaste pionnier de l’État de Maranhão, au Brésil. Il s’agit en réalité de deux diptyques composés chacun d’un film original et d’un second film qui revisite le premier quelques décennies plus tard : d’une part, <em>Tambor de Crioula</em> (1979) et <em>Afinado a fogo: Tambor de Crioula revisitado</em> (2009); d’autre part <em>Bandeiras Verdes</em> (1987) et <em>Fronteira de imagens</em> (2010). Outre les représentations culturelles et sociales qui sont évoquées dans ces documentaires (manifestations culturelles des communautés noires, exploitation, conflits ruraux, etc.) et leurs implications techniques, éthiques et esthétiques, leur public le plus important est également pris en compte – les acteurs sociaux et les populations pauvres de Maranhão elles-mêmes – public auquel le réalisateur présente ses travaux audiovisuels.</p>
<p><strong>Mots-clés.</strong> Cinéma brésilien, Documentaire, Maranhão, Intertextualité.</p>
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<p><strong>Miguel Ángel LOMILLOS GARCÍA, </strong><strong>“La entrada del cine moderno en Maranhão (Brasil):</strong><strong><em>Tambor de Crioula</em></strong><strong> et <em>Bandeiras Verdes</em>, de Murilo Santos”.</strong></p>
<p><strong>Resumen</strong>. Este artículo analiza cuatro films documentales de Murilo Santos, un cineasta pionero del Estado de Maranhão en Brasil. En realidad se trata de dos dípticos, el film original y otro que lo revisita décadas después: por un lado, <em>Tambor de Crioula</em> (1979) y <em>Afinado a fogo: Tambor de Crioula revisitado</em> (2009); por otro lado, <em>Bandeiras Verdes</em> (1987) y <em>Fronteira de imagens</em> (2010). Además de las representaciones sociales y culturales que Murilo Santos aborda en sus documentales – manifestaciones culturales de comunidades negras, explotación, conflictos rurales, etc. – y sus implicaciones técnicas, estéticas y éticas, se analiza también el público más primordial – los propios actores sociales y gente pobre de Maranhão – a quienes el director presenta su trabajo audiovisual.</p>
<p><strong>Palabras claves.</strong> Cine brasileño, Documental, Maranhão, Intertextualidad.</p>
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<p><strong>Miguel Ángel LOMILLOS GARCÍA, “The Arrival of Modern Cinema in Maranhão </strong><strong>(Brazil):</strong><strong><em>Tambor de Crioula</em></strong><strong> and <em>Bandeiras Verdes</em>, by Murilo Santos”.</strong></p>
<p><strong>Abstract.</strong> This article analyses four documentary films by the pioneer filmmaker Murilo Santos from Maranhão state in Brazil. More precisely, we will examine two diptychs composed each one by an original film and a second one revisiting the first some decades later. In the first place, <em>Tambor de Crioula</em> (1979) and its rejoinder <em>Afinado a fogo: Tambor de Crioula revisitado</em> (2009). In the second place, <em>Bandeiras Verdes</em> (1987) and <em>Fronteira de imagens</em> (2010). It will be analysed how Santos’ documentaries explore social and cultural representations (black communities’ cultural manifestations, exploitation, rural conflicts, etc.) and their technical, ethical and aesthetical implications. The reception of Santos’ audio-visual work is also analysed through its very first audiences: Maranhão state’s poor people and social actors.</p>
<p><strong>Keywords.</strong> Brazilian film, Documentary, Maranhão, Intertextuality.</p>
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<p><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_7_15.pdf" target="_blank"><strong>Télécharger l'article complet (pdf, 3,3 Mb)</strong></a></p>
<p> </p>Thu, 21 Jun 2018 13:53:00 +0200marianne.bloch-robin