dc.contributor | Santiago Júnior, Francisco das Chagas Fernandes | |
dc.contributor | | |
dc.contributor | | |
dc.contributor | Peixoto, Renato Amado | |
dc.contributor | | |
dc.contributor | Kaminski, Rosane | |
dc.contributor | | |
dc.creator | Macêdo, Gabriela Cavalcanti | |
dc.date.accessioned | 2019-05-07T23:31:09Z | |
dc.date.accessioned | 2022-10-06T12:42:08Z | |
dc.date.available | 2019-05-07T23:31:09Z | |
dc.date.available | 2022-10-06T12:42:08Z | |
dc.date.created | 2019-05-07T23:31:09Z | |
dc.date.issued | 2017-09-22 | |
dc.identifier | MACÊDO, Gabriela Cavalcanti. Usos da paisagem edênica no cinema brasileiro nos anos 1970: o caso de Como Era Gostoso Meu Francês. 2017. 141f. Dissertação (Mestrado em História) - Centro de Ciências Humanas, Letras e Artes, Universidade Federal do Rio Grande do Norte, Natal, 2017. | |
dc.identifier | https://repositorio.ufrn.br/jspui/handle/123456789/27008 | |
dc.identifier.uri | http://repositorioslatinoamericanos.uchile.cl/handle/2250/3957428 | |
dc.description.abstract | This dissertation aims to analyze how the cultural memory of the perception of
paradise and indigenous people were updated in the national cinematographic production throughout
the Civil-Military Dictatorship (1964-1985), specifically in the film Como é gostoso meu francês by
Nelson Pereira dos Santos. It is assumed that Paradise is a spatial conception historically constructed
that, united with its main inhabitant (Native American) composes a spatial cut of the edenic landscape.
The hypothesis is that Nelson Pereira dos Santos' film installed possibilities of allegorical readings
through the use of this edenic landscape. The research relates the visual studies and the historical
analysis, focusing in the identification of the visual and discursive matrices with which the film
dialogues. However, for this it will be used the narrative-iconological methodology, based
simultaneously on the narratology of David Bordwell (2013) and iconology of W.J.T. Mitchell (2000).
For the former the narrative is fundamental for the understanding of the film’s object. As for the latter,
the critical iconology of Mitchell (2000) allows access to the iconological elements and to the
visibility regimes historically constituted. That said, the present dissertation will analyze the
representations of the edenic landscape that lie in cultural and visual memory, which are present in the
composition of the cinematographic image in a way that helps the understanding the manner the
film perceives and constructs a certain image of Brazil. | |
dc.publisher | Brasil | |
dc.publisher | UFRN | |
dc.publisher | PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA | |
dc.rights | Acesso Aberto | |
dc.subject | Paisagem | |
dc.subject | Cultura visual | |
dc.subject | Como era gostoso meu Francês | |
dc.title | Usos da paisagem edênica no cinema brasileiro nos anos 1970: o caso de Como Era Gostoso Meu Francês | |
dc.type | masterThesis | |