Evangelicals in the Brazilian contemporary visual production: analysis of the polemics surrounding the film Holy Tremor
This article proposes an analysis of the polemics around Holy Tremor (2017), film by Bárbara Wagner and Benjamin de Burca, aiming at locating it, at first, in the tradition of representation of poor and peripheric communities in Brazilian art. In a second moment, it will also relate the work to a la...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Brasil |
| Institución: | Universidade Federal do Ceará (UFC) |
| Repositorio: | Revista de Ciências Sociais |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufc:article/40276 |
| Acceso en línea: | http://www.periodicos.ufc.br/revcienso/article/view/40276 |
| Access Level: | acceso abierto |
| Palabra clave: | Documentary Image of the People Representation Subalternity Documentário Imagem do Povo Representação Subalternidade. |
| Sumario: | This article proposes an analysis of the polemics around Holy Tremor (2017), film by Bárbara Wagner and Benjamin de Burca, aiming at locating it, at first, in the tradition of representation of poor and peripheric communities in Brazilian art. In a second moment, it will also relate the work to a larger series of polemics generated by the representation of evangelical groups in the Brazilian contemporary visual production. It suggests that reception is a key element in the production of meaning and consequently, in the controversy generated by the film. |
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