Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end.
Art and politics, from contemporary studies, are seen as inseparable, and take place on the same points: in form and / or content, or both. In this sense, we propose the analysis of the medium-length film Manhã cinzenta, by Olney São Paulo, produced in 1969, which is one of the most significant film...
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Universidade Estadual do Oeste do Paraná
2017-12-01
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Online Access: | http://e-revista.unioeste.br/index.php/travessias/article/view/17514 |
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doaj-9f15c2464f364a9d8dacdcdeda8d38862020-11-25T03:33:33ZporUniversidade Estadual do Oeste do ParanáTravessias1982-59352017-12-0111313715710709Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end.Antonia Cristina de Alencar PiresFilipe SchettiniGustavo Cesário de Souza TanusArt and politics, from contemporary studies, are seen as inseparable, and take place on the same points: in form and / or content, or both. In this sense, we propose the analysis of the medium-length film Manhã cinzenta, by Olney São Paulo, produced in 1969, which is one of the most significant films of resistance to the 1964 civil-military dictatorship, but it is also a kind of metaphor for the life of the self filmmaker, being a wound in his own body shattered by torture. For our reading and analysis, we start with the contemporary assumptions of Marc Ferro (1978, 1992) and Robert Rosenstone (1996, 2010) that films and film archives can overcome the absence of traditional official documents, Their discourse, being, therefore, in Derridian sense, supplementary for the historiographic construction, being able to be sources for the understanding of historical contexts and events.http://e-revista.unioeste.br/index.php/travessias/article/view/17514cinemahistóriamanhã cinzentaolney são paulo. |
collection |
DOAJ |
language |
Portuguese |
format |
Article |
sources |
DOAJ |
author |
Antonia Cristina de Alencar Pires Filipe Schettini Gustavo Cesário de Souza Tanus |
spellingShingle |
Antonia Cristina de Alencar Pires Filipe Schettini Gustavo Cesário de Souza Tanus Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end. Travessias cinema história manhã cinzenta olney são paulo. |
author_facet |
Antonia Cristina de Alencar Pires Filipe Schettini Gustavo Cesário de Souza Tanus |
author_sort |
Antonia Cristina de Alencar Pires |
title |
Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end. |
title_short |
Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end. |
title_full |
Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end. |
title_fullStr |
Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end. |
title_full_unstemmed |
Manhã cinzenta, fragments in sequence: Considerations about the morning that did not end. |
title_sort |
manhã cinzenta, fragments in sequence: considerations about the morning that did not end. |
publisher |
Universidade Estadual do Oeste do Paraná |
series |
Travessias |
issn |
1982-5935 |
publishDate |
2017-12-01 |
description |
Art and politics, from contemporary studies, are seen as inseparable, and take place on the same points: in form and / or content, or both. In this sense, we propose the analysis of the medium-length film Manhã cinzenta, by Olney São Paulo, produced in 1969, which is one of the most significant films of resistance to the 1964 civil-military dictatorship, but it is also a kind of metaphor for the life of the self filmmaker, being a wound in his own body shattered by torture. For our reading and analysis, we start with the contemporary assumptions of Marc Ferro (1978, 1992) and Robert Rosenstone (1996, 2010) that films and film archives can overcome the absence of traditional official documents, Their discourse, being, therefore, in Derridian sense, supplementary for the historiographic construction, being able to be sources for the understanding of historical contexts and events. |
topic |
cinema história manhã cinzenta olney são paulo. |
url |
http://e-revista.unioeste.br/index.php/travessias/article/view/17514 |
work_keys_str_mv |
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