dc.creator | André Guimarães Brasil | |
dc.date.accessioned | 2021-08-18T12:32:06Z | |
dc.date.accessioned | 2022-10-03T23:02:49Z | |
dc.date.available | 2021-08-18T12:32:06Z | |
dc.date.available | 2022-10-03T23:02:49Z | |
dc.date.created | 2021-08-18T12:32:06Z | |
dc.date.issued | 2020 | |
dc.identifier | https://doi.org/10.11606/issn.2316-7114.sig.2020.160224 | |
dc.identifier | 2316-7114 | |
dc.identifier | http://hdl.handle.net/1843/37579 | |
dc.identifier.uri | http://repositorioslatinoamericanos.uchile.cl/handle/2250/3815722 | |
dc.description.abstract | Starting from the hypothesis of Pignarre and Stengers about capitalist sorcery, this article considers three performance-films – Ungüento by Dalton Paula, Árvore do esquecimento by Paulo Nazareth, and Noirblue by Ana Pi – to understand them as counter-colonial critiques, elaborations of the history of the African Diaspora by using the body. If capitalism – and colonization, which cannot be separated from it – constitutes a “sorcery system without sorcerers”, the three works can be seen as counter-spells, interventions within time and with time. | |
dc.publisher | Universidade Federal de Minas Gerais | |
dc.publisher | Brasil | |
dc.publisher | FAF - DEPARTAMENTO DE COMUNICAÇÃO SOCIAL | |
dc.publisher | UFMG | |
dc.relation | Significação – Revista de Cultura Audiovisual | |
dc.rights | Acesso Aberto | |
dc.subject | Feitiçaria capitalista | |
dc.subject | Contrafeitiço | |
dc.subject | Performance | |
dc.subject | Ungüento | |
dc.subject | Árvore do esquecimento | |
dc.subject | Noirblue | |
dc.title | Encruzilhadas, andarilhos, aprendizes: sobre três filmes-performance | |
dc.type | Artigo de Periódico | |