Pacarrete é forte como um mandacaru: protagonismo feminino, cinema e sertão
Thinking about representations of the sertão from the perspective of female protagonism in the light of the film Pacarrete (Allan Deberton, 2019) led us to begin this search by understanding in what ways the sertão began to be transposed to the national cinema screens, starting with the Cinema No...
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| Formato: | Dissertação |
| Idioma: | pt_BR |
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Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/57312 |
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| Resumo: | Thinking about representations of the sertão from the perspective of female protagonism
in the light of the film Pacarrete (Allan Deberton, 2019) led us to begin this search by
understanding in what ways the sertão began to be transposed to the national cinema
screens, starting with the Cinema Novo phase . Although the northeastern hinterland has
always been present, producing cinema was part of the idealization of a modernized
country that followed the new world trends. It was in the 1950s and 1960s that the
crystallized images of the sertão were constructed, inspired by the regionalist novel of
1930. With the end of Cinema Novo, the theme of the sertão appears less and less in
cinema to return along with the resumption in the 1960s. 1990. This time, the hinterland
of drought, backwardness and colonels gives way to a playful hinterland, located
somewhere between the past and the contemporary. There is no longer a single narrative.
The hinterland multiplied. Thus, every time this sertão is read and said in the cinema, it
appears from a new perspective. They are films that look like soap operas and television
series, Road Movies, melodramas, happy and hopeless films. Narratives focused on just
one character and their anguish. In contemporary times, the sertão of Cinema Novo still
appears as an inspiration, but without a concern to maintain that way of representing and
often in an attempt to build a narrative that surpasses the previously constructed one. In
Russas, in the hinterland of Ceará, a retired ballerina dances and invites us to this party
that is her hinterland of colors, lights and movement. The release of the film triggered a
wave of audiovisual productions and the city of Russas-CE became the stage for different
short films that, like Pacarrete, helped us to think about the female role in contemporary
backwoods films. |
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