THE DOCUMENTARY MAIORIA ABSOLUTA AND THE REPRESENTATION OF THE NATIONAL-POPULAR

dc.contributorUniversidade Estadual Paulista (Unesp)
dc.contributorCAPES
dc.date.accessioned2020-12-10T17:07:05Z
dc.date.accessioned2022-12-19T20:01:16Z
dc.date.available2020-12-10T17:07:05Z
dc.date.available2022-12-19T20:01:16Z
dc.date.created2020-12-10T17:07:05Z
dc.date.issued2019-07-01
dc.identifierHistoria E Cultura. Franca: Univ Estadual Paulista Julio Mesquita Filho, Fac Ciencias Humanas & Sociais, v. 8, n. 1, p. 84-100, 2019.
dc.identifier2238-6270
dc.identifierhttp://hdl.handle.net/11449/195175
dc.identifier10.18223/hiscult.v8i1.2884
dc.identifierWOS:000511384500007
dc.identifier.urihttps://repositorioslatinoamericanos.uchile.cl/handle/2250/5375812
dc.description.abstractThis paper aims to analyze Leon Hirszman's short documentary Absolute Majority from a historiographical perspective, seeking to relate this production to the discourse associated with a well-defined ideological position: the communist political culture and the representations of the national-popular. Produced on the eve of the civil-military coup, Absolute Majority brings reflections on issues of great projection in the period, linked to the Basic Reforms, directing the narrative to the social reality representation of rural illiterate people from Northeastern Brazil. Absolute Majority is a film that reflects the ideals present in the generation of communist cultural producers of the early 1960s and contains images and representations that characterize national-popular discourse.
dc.languagepor
dc.publisherUniv Estadual Paulista Julio Mesquita Filho, Fac Ciencias Humanas & Sociais
dc.relationHistoria E Cultura
dc.sourceWeb of Science
dc.subjectAbsolute Majority
dc.subjectDirect Cinema
dc.subjectpolitical culture
dc.subjectnational-popular
dc.titleTHE DOCUMENTARY MAIORIA ABSOLUTA AND THE REPRESENTATION OF THE NATIONAL-POPULAR
dc.typeArtículos de revistas


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