Ressignificando Memórias: identidades e culturas afrodiaspóricas em filmes do cinema negro brasileiro

Abstract

The memories about the history and the black cultures embodied by the Brazilian cinema and one of its segments - the black cinema - are at the heart of this study; with the objective of examining how the symbolic representations can limit and / or (re) define the different socio-cultural places occupied by Afro-Brazilians, the present study was organized in three bases: the black one in the national cinema, the cinema produced by blacks and their "places of memory".The guiding thread of the research is the reading of memory, which from the Cultural Studies makes it possible to think, in contemporaneity, the coexistence of multiple reminiscences, enabling the creation of new meanings and the permanent incorporation of new subjects in the socio-political cultural scenario. Proposals for comparative studies, studies of culture and cinema in Brazil were used as methodology; based on film analysis, interviews and varied texts published on different media including virtual ones.The theoretical basis is based on propositions, discussions and perspectives on race relations in Brazil and in the diaspora (BHABHA, 2005; HALL, 2003; BENTO, 2003), thus, it connects with the researches that have been putting the hegemonic tradition of cinema under shave (CARVALHO, 2006a; ARAÚJO, 2010), revealing how racism and ethnic hierarchies have operated negatively in cinematographic representations; on the other hand, underling the creative power of the resistance strategies of the black community, which fights underrepresentation (SOUZA, A., 2011; REID, 1993). In relation to film analysis, the following corpus was chosen: Alma no Olho (1974) by Zózimo Bulbul, Carolina (2003) by Jeferson De, Filhas do Vento (2004) by Joel Zito Araújo and O dia de Jerusa (2014) by Viviane Ferreira; this selection sought to encompass contexts, formats and subjectivities different from the production of Black Cinema. In general, the interpretations of the study revealed that Brazilian black cinematography operates a kind of "literacy of reexistence", acting as an alternative formative space, which in the use of the audiovisual language reconfigures the afrodiasporic memory. In order to fill the historical, cultural and social gaps, it develops a connection with the construction of identity and the claim of symbolic self-representation. This connection is constantly recreated and updated by the film productions and also by other actions such as: technical and artistic training, creation of independent research groups and producers (“collective”), publication of specific literature, seminars and shows for the purpose of promoting the Brazilian Black Cinema, as well as of including in the "mnemic constellation" Afro-Brazilian memories.