Aimless roam : the worker as a permanent intruder in brazilian cinema
Abstract: The aim of this brief overview is to investigate representations of the worker and the working class in Brazilian cinema. Three feature-length fiction films in particular will emerge as key texts in this analysis: Luís Sérgio Person's São Paulo S.A. (1965), Leon Hirszman's They D...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2013 |
| País: | Brasil |
| Institución: | Universidade Estadual de Campinas (UNICAMP) |
| Repositorio: | Repositório da Produção Científica e Intelectual da Unicamp |
| Idioma: | inglés |
| OAI Identifier: | oai:https://www.repositorio.unicamp.br/:1310820 |
| Acceso en línea: | https://hdl.handle.net/20.500.12733/9967 |
| Access Level: | acceso abierto |
| Palabra clave: | Trabalho no cinema Cinema brasileiro Motion pictures, Brazilian Work in the cinema Artigo original |
| Sumario: | Abstract: The aim of this brief overview is to investigate representations of the worker and the working class in Brazilian cinema. Three feature-length fiction films in particular will emerge as key texts in this analysis: Luís Sérgio Person's São Paulo S.A. (1965), Leon Hirszman's They Don't Wear Black-Tie (Eles Não Usam Black-Tie, 1981), and Beto Brant's The Trespasser (O Invasor, 2001). These films provide useful paradigms for our analysis of possible ruptures and continuities in terms of a film production with a focus on work. Contemporary cinema will also be examined in order to discuss the role of the worker as a constant "intruder." As a whole, this study seeks to demonstrate that the worker, the working class, and labor issues have emerged as recurring motifs that lurk beneath a number of film narratives, even though in an oblique or collateral way |
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