| Grant number: | 13/19198-5 |
| Support Opportunities: | Scholarships in Brazil - Doctorate |
| Start date: | January 01, 2015 |
| End date: | December 31, 2017 |
| Field of knowledge: | Linguistics, Literature and Arts - Literature |
| Agreement: | Coordination of Improvement of Higher Education Personnel (CAPES) |
| Principal Investigator: | Bruno Barretto Gomide |
| Grantee: | Fabiola Bastos Notari |
| Host Institution: | Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil |
Abstract The purpose of this study is to investigate and analyze the possible relationship that exists between the cinema of Sergei Mikhailovich Eisenstein, seen as filmmaker of the socialist revolution, and the historical context in Brazil during the time preceding the military regime and the succession, from 1946 to 1989, in an attempt to revisit the way the filmmaker films and texts that were received and studied by Brazilians. In parallel, it will seek to relate the exhibition spaces of these films, such as film clubs, cinemas and cultural spaces to its historical and political context, articulating these views to other artistic events such as exhibitions and shows. Will also be subject to the itinerancies these films throughout the country, seeking to understand the relationship between film distributors, the public and these exhibition spaces as places for discussion and reflection in periods of repression and censorship. This tension axis is critical to understand the reception of this filmmaker "socialist", recognition and relentless pursuit by intellectuals and interested in the study of theories that filmmaker still distant. This mapping also will cover the meeting and critical texts published in newspapers, magazines and books on the cinema of Eisenstein. Thus, it is intended to outline a critical mapping of these productions presenting similarities and contrasts, and to analyze parallel texts Eisenstein which were translated into Portuguese and/or texts which these intellectuals had access. In this research, some chapters will be devoted to exhibits, whose impact was significant in Brazil, for example, the exhibition of 115 drawings S. Eisenstein, the Lasar Segall Museum in 1974, along the display of his films. In order to make translations of two unpublished texts significant dialogue with the mapping critical. It is, therefore, from these surveys critical- reflective around the Eisenstein film in Brazil, which is the work forward, both to clarify tensions reception of these films, how to open a field that can be thought and studied the relationships between Russian Culture and Brazilian Culture. (AU) | |
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