Mil e uma noites na cidade industrial: o realismo em Arábia
Araby (2017) can be considered one of many films that investigate reality. At first glance, it responds to the multiple historical appearances of workers in Brazilian cinema. However, there is a less definite zone of exchanges inhabited by artists who adapted the categories of realism for their part...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | Significação (Online) |
| Idioma: | portugués inglés |
| OAI Identifier: | oai:revistas.usp.br:article/162175 |
| Acceso en línea: | https://www.revistas.usp.br/significacao/article/view/162175 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinema Arábia Trabalhador Realismo Anticapitalismo Araby Workers Realism Anticapitalism |
| Sumario: | Araby (2017) can be considered one of many films that investigate reality. At first glance, it responds to the multiple historical appearances of workers in Brazilian cinema. However, there is a less definite zone of exchanges inhabited by artists who adapted the categories of realism for their particular purposes. This is the case of John Ford and John Huston, for example. In this paper, we analyze the images of Araby, placing them on the threshold between these two fields of aesthetic work. |
|---|