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The issue of the people in the brasilian cinematic melodrama

Grant number: 22/09964-1
Support Opportunities:Scholarships abroad - Research Internship - Doctorate
Effective date (Start): February 07, 2023
Effective date (End): May 13, 2023
Field of knowledge:Linguistics, Literature and Arts - Arts - Cinema
Principal Investigator:Pedro Maciel Guimarães Junior
Grantee:David Ken Gomes Terao
Supervisor: Françoise Rachel Zamour
Host Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil
Research place: École Normale Supérieure, Paris (ENS), France  
Associated to the scholarship:20/06447-0 - Appropriations of melodrama in contemporary Brazilian cinema, BP.DR


In her book Le mélodrame dans le cinéma contemporain, Françoise Zamour proposes an analysis methodology for melodrama based on the discipline of history. His theory is that melodrama is the privileged genre to deal with the people as a theme and addressee simultaneously. Dealing with the difficult and problematic concept of the people, Zamour resorts to the context of the French Revolution to propose the thesis that melodrama is configured as a means for the people to appear, initially in the theater and later on the movie screen. In other words, melodrama is a people factory. However, in the face of research on Brazilian cinematographic melodrama, it is necessary to problematize both the notion of people used by Zamour and its mode of appearance. As for the people, if the French author resorts to a possibility of national union through what she calls the great friendship, in the definition of the author Jules Michelet, the Brazilian reality imposes the need for other readings. The very configuration of the people in the Brazilian context presents itself as a problem, since, as Darcy Ribeiro observes, the consequence of the formation of Brazil through the violent processes of colonization and slavery, as well as the continuous exploitation of the worker without rights, resulted in a non-recognition of Brazilians as a people within a national unit. This lack of recognition, in turn, results in a melodramatic staging that does not seek to reflect a possible union of a people, but to expose its impossibility, the social fissures of Brazil. In this sense, the present research will focus on the concepts of people used both by Zamour's research and by Brazilian historians and sociologists and then proceed to an analysis of melodrama in Brazilian cinema taking into account the specificity of our culture and history. (AU)

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