Cinema, imaginário e subjetividade: o filme Vidas Secas e a construção de diferentes memórias

Abstract

This work of historical- sociological aims to investigate, by means of collective memory and cinema, the process of formation of two distinct memories that have acquired a specific link through the process of developing the feature film Vidas Secas, 1963. First we have the formation of a cultural and political memory of film makers of the first phase of Cinema Novo ,which were greatly impacted after completion of the film , and then the memory of the former in habitants of the municipality of Minador Negrão , located inside Alagoas , who had interests in the filming process performed in the years 1962 and 1963 . It is through the union of film analysis and reconstruction of collective memory of a specific group, a reflection on the influence of visual culture was performed. Looking elucidate how and from which experiments were constructed memories of cinemanovistas , based on the concept of romantic - revolutionary brazilianness wrought by sociologist Marcelo Ridenti , and other measure to the residents of the small settlement during the drafting process of the film . Backed by the collective memory, sociology and film, it was possible to enhance the different nuances that forged some changes in the social memory of the locals when they started to have a direct contact with the crew filming. The argument that I used still moves between three different points during the purchase link text. First the importance the northeastern hinterland took in building a specific narrative that formed the genesis of the then Cinema Novo , a second point also analyzed back to the creation of the filmic plot of Nelson Pereira dos Santos from the literary work Graciliano Ramos , ending with a discussion involving the memory of old residents through interviews and reports . To this end, interviews with six residents who helped in the creation process of the film were used. Through them we tried to access the memories and events occurring during that period, characteristics of everyday filming the adaptation of the population with actors and filmmaker, scenes and places chosen for key scenes. These aspects were the subject of our study, which found in the collective memory and social interaction process initiated at the time its main empirical and analytical resource.