Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2016-06-16T23:22:13Z No. of bitstreams: 1 DISSERTA??O_LEANDRO.pdf: 1543410 bytes, checksum: 21849fe1449548fb4ae64b36809d258d (MD5) / Made available in DSpace on 2016-06-16T23:22:13Z (GMT). No. of bitstreams: 1 DISSERTA??O_LEANDRO.pdf: 1543410 bytes, checksum: 21849fe1449548fb4ae64b36809d258d (MD5) Previous issue date: 2015-06-30 / This dissertation presents a critical study on the movie ?Black God, White Devil?(1964), by the filmmaker Glauber Rocha born in Bahia State, and the way it is approached in the contemporay sertanejo cinema, specifically in the movies ??rido Movie? and ?Perfumed Ball? directed by Paulo Caldas and L?rio Ferreira, both from Pernambuco State. The research takes into consideration the context in which the movie ?Black God, White Devil? was created, its esthetic and discursive basis, its proposal for a collective popular memory revival focusing on the facts intrinsic to life in Canudos backlands, especially the canga?o (social banditry) and messianism and the clash the movie shows between the people?s version about these facts and the version found in official history books. It discusses how the speakability and visibility of an insular , mythical and sacralized sert?o as the epicenter of a national identity and liberating revolt found in ?Black God, White Devil? appear in the movies ??rido Movie? and ?Perfumed Ball? in a roundabout way, which show asert?o and a sertanejo torn between the dialogue with tradition and post-modernity. / Essa disserta??o apresenta um estudo cr?tico do filme Deus e o Diabo na Terra do Sol (1964) do cineasta baiano Glauber Rocha e o seu desdobramento na abordagem que faz o cinema sertanejo contempor?neo, especificamente nos filmes ?rido Moviee Baile Perfumado dos diretores pernambucanos Paulo Caldas e L?rio Ferreira. A pesquisa considera o contexto em que Deus e o Diabosurgiu, seu esteio est?tico e discursivo, sua proposi??o de resgate de uma mem?ria popular coletiva em torno dos fatos intr?nsecos ao sert?o do Canudos, detidamente o canga?o e o messianismo e o embate que o filme encena entre a vers?o do povo sobre estes fatos e aquela contida na hist?ria oficial. Discute como a dizibilidade e a visibilidade do sert?o insular, m?tico e sacralizado, epicentro de uma identidade nacional e uma revolta libert?ria veiculada em Deus e o Diabo aparece enviesado em ?rido Moviee Baile Perfumado que apresenta um sert?o e um sertanejo bifurcados entre dialogar com a tradi??o e o com o p?s-moderno.

In this comparative examination of cinematic representations of American and Brazilian wildernesses, I argue for the necessity of a transnational, postregional, and ecocritical approach to film studies. The way that the deserts of the American West are represented by Hollywood Western filmmakers reveal underlying ecological and political philosophies, and provide a productive contrast with representations of the sertão, a similarly arid biome in Brazil. Among other theoretical approaches, this study uses W. J. T. Mitchell’s idea of “landscape” as a verb to examine the formal devices by which filmmakers and audiences “landscape” these “wildernesses.” Using John Ford’s The Searchers (1956) as an example, I suggest that Hollywood Westerns inscribe the land with a colonial gaze that reflects and perpetuates a dualistic conception of nature, one that sees nature as separate and distinct from humankind. Cinema Novo, the radical anticolonial movement in Brazilian cinema, provides an aesthetic and philosophical alternative. Through an analysis of one of Cinema Novo’s foundational works by one of its founding figures—Glauber Rocha’s Deus e o diabo na terra do sol [Black God, White Devil] (1964)—I demonstrate how the theory and practice of Rocha’s anticolonial “aesthetic of hunger” has an ecological dimension, one that rejects and collapses a binary opposition between humans and nature. By looking beyond borders which too often function not only as national boundaries but to delimit fields of academic study, this project finds common ground for comparison in representations of nature, and demonstrates the political and ecological implications thereof.