Do cinema para TV: uma análise cultural do documentário de Eduardo Coutinho na televisão dos anos 1970
This study seeks to make a cultural analysis of the documentaries: Seis Dias de Ouricuri (1976) and Theodorico, o Imperador do sertão (1978), by Eduardo Coutinho, shown by the Globo Repórter program on TV Globo, in its first phase (1973 - 1981), when the production team consisted of filmmakers and j...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Universidade Federal do Maranhão (UFMA) |
| Repositorio: | Biblioteca Digital de Teses e Dissertações da UFMA |
| Idioma: | portugués |
| OAI Identifier: | oai:tede2:tede/4612 |
| Acceso en línea: | https://tedebc.ufma.br/jspui/handle/tede/4612 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinema e televisão; Eduardo Coutinho; hegemonia; ditadura; documentário. cinema and television; hgemony; dictatorship; documentary. Televisão Comunicação |
| Sumario: | This study seeks to make a cultural analysis of the documentaries: Seis Dias de Ouricuri (1976) and Theodorico, o Imperador do sertão (1978), by Eduardo Coutinho, shown by the Globo Repórter program on TV Globo, in its first phase (1973 - 1981), when the production team consisted of filmmakers and journalists. Our goal is to understand the contradictions of the topics on the agenda that stretched the boundaries between cinema and television. The research is of a bibliographic and documentary nature. An interdisciplinary theoretical and methodological path was developed. The conceptual emphasis is supported by theoretical elaborations about aesthetics, methodological complexity and the dispute for hegemony, standing out in this sequence: Walter Benjamin (1978), Edgar Morin (2003) and Antonio Gramsci (1975). We work with the idea of an expanded Gramscian State, in which political society and civil society establish the forms of hegemony and the cultural-ideological leadership of one class over the others. The work is divided into three parts: first, the concept of hegemony and the complex correlation of forces that build modern society are presented. Next, a survey is carried out on the relationship between television and cinema, placing it in the historical context of the 1970s. Subsequently, an analysis of the two television documentary films is presented based on their contradictions, observing the place where the meanings are being disputed. Next, the conflicting nature of social relations is revealed. It is possible to observe, from them, how interactions between social groups are established: negotiations and conflicts around power. |
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