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| Author(s): |
Fabiola Bastos Notari
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2018-06-25 |
| Examining board members: |
Bruno Barretto Gomide;
Mariarosaria Fabris;
Mario Ramos Francisco Junior;
Rosane Kaminski;
Eduardo Victorio Morettin
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| Advisor: | Bruno Barretto Gomide |
| Abstract | |
Why see, read, and speak of Sergei M. Eisenstein today? How important is this filmmaker to the Brazilian public? This is not a thesis about the life and work of the great Russian-Soviet filmmaker, the research starts from some questions, which reflect on the influence that Eisenstein\'s theory and films had on some historical-cultural events in Brazil, or more specifically, on the performance of certain intellectuals and institutions that support, disseminate and defend the language of cinema as an artistic expression. Eisenstein no Brasil is divided in three fundamental parts, which are configured from the diagram of sets to be followed as guide of reading. Part I investigates the Brazilian cinematographic criticism, inserted in it, are the chapters in which the attitude of the critics is emphasized in front of the cinematography of Eisenstein, for its great part published in newspapers and periodicals, associated to these critics some cases of the artistic and cinematographic production are cited, in which Eisenstein\'s films and theories are studied and approached. Part II is dedicated to the close relationship between the film movement and the creation of film libraries in Brazil. What is interesting about this part is the connection between the exhibitions of Eisenstein\'s films with other artistic languages, or the association made between these exhibitions and the cultural spaces in some Brazilian cities. In it the understanding of the social, political and ideological context helped to understand the flow of the socio-political movements that appropriated the cinematographic productions, mainly Russo- Soviet or of Soviet thematic, to discuss and to position for or against the political regime of his time - Era Vargas, Ditadura Militar and República Nova. Part III of this thesis is composed of the relations constructed between the study of cinema theories, the translations of books and articles on cinematographic language of Sergei M. Eisenstein and the creation of the superior courses of cinema in Brazil, in view of points of contact with the Russian-Soviet filmmaker and his theoretical and film production. This part consists, for the most part, of informally collected oral statements, in which the narrator feels free to tell his stories in order to contribute to the object of study of this thesis, answering the initial question: What is the influence of Sergei M. Eisenstein in your life?\" The final considerations points to possible continuities of the research, since in the attempt to explore and recognize the greatest number of points of contact between artistic, cinematographic, academic, intellectual and Brazilian criticism, it was found that studying Eisenstein today is to study what is most current both in form and in content, since both its language and its theory are always accessed, then renewed. (AU) | |
| FAPESP's process: | 13/19198-5 - The reception of Sergei Eisensteins films in Brazil from 1945 to 1989 |
| Grantee: | Fabiola Bastos Notari |
| Support Opportunities: | Scholarships in Brazil - Doctorate |