Marighella e circuitos comunicacionais: narrativas transbordantes
The study, assuming communication as a way of sharing the sensitive (RANCIÈRE, 2009) between individuals and sectors of society, deals with Marighella (Wagner Moura; Brazil, 2021) taken as a communicational phenomenon, observing how the film’s narratives overflow from the cinema screen for...
| Autores: | , |
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2022 |
| País: | Brasil |
| Recursos: | Universidade Federal do Rio de Janeiro (UFRJ) |
| Repositório: | Revista Eco-Pós (Online) |
| Idioma: | português |
| OAI Identifier: | oai:ojs.revistaecopos.eco.ufrj.br:article/27889 |
| Acesso em linha: | https://revistaecopos.eco.ufrj.br/eco_pos/article/view/27889 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Cinema Marighella Circuitos comunicacionais Partilha do sensível Communication circuits Sharing the sensitive |
| Resumo: | The study, assuming communication as a way of sharing the sensitive (RANCIÈRE, 2009) between individuals and sectors of society, deals with Marighella (Wagner Moura; Brazil, 2021) taken as a communicational phenomenon, observing how the film’s narratives overflow from the cinema screen for journalistic articles and posts on social networks. The analysis focuses on the aesthetic and communicational strategies that in the film (and beyond) function as mobilizers of social interactions (BRAGA, 2017). It can be observed that the cinematographic product configures a communicational flow that begins before the film is made and continues after its release. Marighella, specifically, multiplies itself in the diversity of contemporary media devices, thus becoming part of opposing discourses, target of criticism and symbol of resistance. |
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