ORFEU’S TROLLEY: FULNESS ABOUT ONE ENGUIÇO
This paper to make a discussion about cinematographic representation from Rio de Janeiro’slums in Marcel Camus’Black Orpheus (1959), your adaptation the play Vinicius de Moraes’Orfeu da Conceição, published in 1954. Relating this representation to Roberto Schwarz’s “concept” intituled “enguiço”, u...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2013 |
| País: | Brasil |
| Institución: | Associação Nacional de Pós-Graduação e Pesquisa em Letras e Lingüística (ANPOLL) |
| Repositorio: | Revista da ANPOLL (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistadaanpoll.emnuvens.com.br:article/656 |
| Acceso en línea: | https://revistadaanpoll.emnuvens.com.br/revista/article/view/656 |
| Access Level: | acceso abierto |
| Palabra clave: | Rio de Janeiro’slums. Marcel Camus. Black Orpheus. Vinicius de Moraes. Cinematographic representation. Roberto Schwarz Favelas cariocas. Marcel Camus. Orfeu negro. Vinicius de Moraes. Representação cinematográfica. Roberto Schwarz |
| Sumario: | This paper to make a discussion about cinematographic representation from Rio de Janeiro’slums in Marcel Camus’Black Orpheus (1959), your adaptation the play Vinicius de Moraes’Orfeu da Conceição, published in 1954. Relating this representation to Roberto Schwarz’s “concept” intituled “enguiço”, utilized into essay “O bonde, a carroça e o poeta modernista”. The choice of this particular “concept” shows a desire to review the first critics that remain fixed in external aspects to Marcel Camus’esthetic |
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