CINEMA AS A DEBATE ARENA FOR THE DIFFICULT MEMORIES OF THE BRAZILIAN CIVIL-MILITARY DICTATORSHIP: AÇÃO ENTRE AMIGOS (1998) AND MEMÓRIA QUE ME CONTA (2012)
The article aims to reflect on history, memory and contemporary Brazilian cinema in the films Ação entre Amigos (Beto Brant, 1998) and A Memória Que Me Contam (Lucia Murat, 2012), highlighting two moments of the discourses on the memory of the dictatorship Brazilian civil-military (1964-1985), which...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Estudos Ibero-Americanos |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/44078 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/iberoamericana/article/view/44078 |
| Access Level: | acceso abierto |
| Palabra clave: | Brazilian cinema military dictatorship tough memories. cine brasileño dictadura militar recuerdos duros. cinema brasileiro pós-retomada ditadura militar memórias difíceis. |
| Sumario: | The article aims to reflect on history, memory and contemporary Brazilian cinema in the films Ação entre Amigos (Beto Brant, 1998) and A Memória Que Me Contam (Lucia Murat, 2012), highlighting two moments of the discourses on the memory of the dictatorship Brazilian civil-military (1964-1985), which they reverberate in our society. Two different moments of Brazilian cinema in the 1990s and 2010s will be considered, and the current clashes with regard to the elaboration of memories of the civil-military dictatorship. The aforementioned films with specific characteristics dialogue with two distinct conjunctures regarding the right to memory and the truth about the multiple violations of human rights promoted during the Brazilian military governments, and in the scenario of struggles for their not being forgotten. For the development of reflections, we based ourselves on the main assumptions of Walter Benjamin (1994) about the experience and those of studies on memory (CANDAU, 2011; POLLAK, 1989, 1992; HUYSSEN, 2014), as well as História como trauma (SELIGMAN -SILVA, 2000), Film Analysis (PENAFRIA, 2009; AUMONT; MARIE, 2010). |
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