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Advisor(s)
Abstract(s)
Este trabalho visa identificar e analisar a influência da produção cinematográfica brasileira
no desenvolvimento de estereótipos por parte dos europeus ocidentais em relação ao Brasil.
Seu principal objetivo é buscar compreender, se de fato o conteúdo cinematográfico
produzido pelo maior país da América Latina, entre 2001 e 2015, fomenta e concretiza a
ideia de um país extremamente violento, corrupto e periférico.
A pesquisa foi conduzida por meio da coleta e análise de dados provenientes da crítica
brasileira, através da Associação Brasileira de Críticos de Cinema (Abraccine); da crítica
internacional mediante a presença de filmes brasileiros nos festivais midiáticos e
generalistas da Europa Ocidental de maior destaque – Berlinale, Locarno, Veneza, Roterdã
e Cannes -; além da opinião do público brasileiro por meio das análises dos números de
bilheteria no recorte temporal trabalhado.
Outro fator estudado foi a relação entre a produção cinematográfica brasileira do século 21, e
o movimento do Terceiro Cinema, contemplando desde o Cinema Novo até a Pós-Retomada
do cinema brasileiro. Este percurso abrange a pornô-miséria de Ospina e Mayolo, e um o
diálogo entre o manifesto glauberiano Estética da Fome e a Cosmética da Fome apresentada
por Ivana Bentes.
Por fim, é realizada uma análise de Cidade de Deus (Meirelles, 2002) e Tropa de Elite
(Padilha, 2007) com o objetivo de compreender como essas duas obras – que ostentam uma
certa obsessão pela temática da violência - contribuíram para o desenvolvimento do
estereótipo sobre o Brasil, e o fomento do gênero cinefavela. Também é explorado o modo
como a mídia estrangeira dos países-sede dos festivais em estudo (Alemanha, Suíça, Itália,
Países Baixos e França) interpretou e divulgou esses dois longas-metragens de ficção.
This study aims to identify and analyze the influence of Brazilian film production on the development of stereotypes by Western Europeans regarding Brazil. Its main objective is to understand whether the cinematic content produced by the largest country in Latin America between 2001 and 2015 promotes and solidifies the idea of an extremely violent, corrupt, and peripheral country. The research was conducted through the collection and analysis of data from Brazilian critics, through the Brazilian Film Critics Association (Abraccine); international critics through the presence of Brazilian films in the most prominent media and generalist festivals in Western Europe - Berlinale, Locarno, Venice, Rotterdam, and Cannes -; in addition to the opinion of the Brazilian public through the analysis of box office numbers within the selected time frame. Another factor studied was the relationship between Brazilian film production in the 21st century and the Third Cinema movement, ranging from Cinema Novo to the post-Retomada of Brazilian cinema. This journey encompasses the "porno-misery" of Ospina and Mayolo and a dialogue between Glauber's manifesto Estética da Fome and the cosmetic hunger presented by Ivana Bentes. Finally, an analysis is conducted on City of God (Meirelles, 2002) and Elite Squad (Padilha, 2007) with the aim of understanding how these two works - which display a certain obsession with the theme of violence - contributed to the development of the stereotype about Brazil and the promotion of the cinefavela genre. It also explores how the foreign media from the host countries of the studied festivals (Germany, Switzerland, Italy, the Netherlands, and France) interpreted and publicized these two feature films.
This study aims to identify and analyze the influence of Brazilian film production on the development of stereotypes by Western Europeans regarding Brazil. Its main objective is to understand whether the cinematic content produced by the largest country in Latin America between 2001 and 2015 promotes and solidifies the idea of an extremely violent, corrupt, and peripheral country. The research was conducted through the collection and analysis of data from Brazilian critics, through the Brazilian Film Critics Association (Abraccine); international critics through the presence of Brazilian films in the most prominent media and generalist festivals in Western Europe - Berlinale, Locarno, Venice, Rotterdam, and Cannes -; in addition to the opinion of the Brazilian public through the analysis of box office numbers within the selected time frame. Another factor studied was the relationship between Brazilian film production in the 21st century and the Third Cinema movement, ranging from Cinema Novo to the post-Retomada of Brazilian cinema. This journey encompasses the "porno-misery" of Ospina and Mayolo and a dialogue between Glauber's manifesto Estética da Fome and the cosmetic hunger presented by Ivana Bentes. Finally, an analysis is conducted on City of God (Meirelles, 2002) and Elite Squad (Padilha, 2007) with the aim of understanding how these two works - which display a certain obsession with the theme of violence - contributed to the development of the stereotype about Brazil and the promotion of the cinefavela genre. It also explores how the foreign media from the host countries of the studied festivals (Germany, Switzerland, Italy, the Netherlands, and France) interpreted and publicized these two feature films.
Description
Keywords
Cidade de Deus Cinema Brasileiro Cinema de Pós-Retomada Estereótipo Brasileiro Festival de Cinema Europeu Tropa de Elite