Cindir a cena, partilhar o cinema: sobre Bamako, de Abderrahmane Sissako
The film Bamako (2006), by the Mauritanian director Abderrahmane Sissako, places the African people, dispossessed of their ways of life, and the world's major financial corporations, side by side in an imaginary court that enables the film to rewrite history against the grain. In a cinematograp...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/37962 |
| Acceso en línea: | https://doi.org/10.22475/rebeca.v5n2.394 http://hdl.handle.net/1843/37962 https://orcid.org/ 0000-0002-8538-1185 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinema africano Dispositivo Dissenso Partilha do sensível Política na arte Política no cinema Problemas sociais no cinema Relações raciais |
| Sumario: | The film Bamako (2006), by the Mauritanian director Abderrahmane Sissako, places the African people, dispossessed of their ways of life, and the world's major financial corporations, side by side in an imaginary court that enables the film to rewrite history against the grain. In a cinematographic fiction that is crossed by the real and impregnated by dust from the ground and the black people who lives in a divided and unjust world, where only the capital owners have a voice, rewriting history is to give to the other the time of image and of the word. This, thus, amounts to reinventing politics altogether. |
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