dc.creatorAndré Guimarães Brasil
dc.date.accessioned2021-08-18T12:32:06Z
dc.date.accessioned2022-10-03T23:02:49Z
dc.date.available2021-08-18T12:32:06Z
dc.date.available2022-10-03T23:02:49Z
dc.date.created2021-08-18T12:32:06Z
dc.date.issued2020
dc.identifierhttps://doi.org/10.11606/issn.2316-7114.sig.2020.160224
dc.identifier2316-7114
dc.identifierhttp://hdl.handle.net/1843/37579
dc.identifier.urihttp://repositorioslatinoamericanos.uchile.cl/handle/2250/3815722
dc.description.abstractStarting 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.publisherUniversidade Federal de Minas Gerais
dc.publisherBrasil
dc.publisherFAF - DEPARTAMENTO DE COMUNICAÇÃO SOCIAL
dc.publisherUFMG
dc.relationSignificação – Revista de Cultura Audiovisual
dc.rightsAcesso Aberto
dc.subjectFeitiçaria capitalista
dc.subjectContrafeitiço
dc.subjectPerformance
dc.subjectUngüento
dc.subjectÁrvore do esquecimento
dc.subjectNoirblue
dc.titleEncruzilhadas, andarilhos, aprendizes: sobre três filmes-performance
dc.typeArtigo de Periódico


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