Among loopholes, cuts and deletions: relations ethnic-racial and film censorship in the military dictatorship
This paper aims to analyze how the Brazilian censorship analyzed movies during the military regime between 1964 and 1985. More precisely, we discuss the cases of four films: Macunaíma (Joaquim Pedro de Andrade, 1969), Iracema, uma transa amazônica (Jorge Bondanzky and Orlando Senna, 1974), Compasso...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/19927 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/19927 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinema Military Dictatorship Censorship Cine brasileño censura raza Cinema brasileiro raça etnicidade Cinema Brasileiro |
| Sumario: | This paper aims to analyze how the Brazilian censorship analyzed movies during the military regime between 1964 and 1985. More precisely, we discuss the cases of four films: Macunaíma (Joaquim Pedro de Andrade, 1969), Iracema, uma transa amazônica (Jorge Bondanzky and Orlando Senna, 1974), Compasso de Espera (Antunes Filho, 1975) and Tenda dos Milagres (Nelson Pereira dos Santos, 1976). Based on these cases, we seek to establish to what extent the representation of ethnic/racial conflict situations bothered agents of censorship at that time, since the regime was clearly guided by the doctrines of the Portuguese-tropicalism and of the national- development. |
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