Submitted by Verena Bastos (verena@uefs.br) on 2015-10-05T12:35:57Z No. of bitstreams: 1 DISSERTA??O - MARIA DAVID SANTOS.pdf: 10042104 bytes, checksum: 35935c3946db2d0fc2d6952ed0d0b2d1 (MD5) / Made available in DSpace on 2015-10-05T12:35:57Z (GMT). No. of bitstreams: 1 DISSERTA??O - MARIA DAVID SANTOS.pdf: 10042104 bytes, checksum: 35935c3946db2d0fc2d6952ed0d0b2d1 (MD5) Previous issue date: 2013-03-21 / Funda??o de Amparo ? Pesquisa do Estado de S?o Paulo - FAPESP / This work proposes a reading of the social, political, historical and cultural presents in the tale and movie called Manh? Cinzenta, 1966 and 1969 respectively, of Olney Alberto S?o Paulo (1936-1978). It was with the aim of discussing the reality of the country in his works, the writer and filmmaker early left his hometown of Riach?o do Jacu?pe, to live and acquire study in Feira de Santana, both cities in Bahia, where he developed activities related to theater, journalism and cinema. The "damn filmmaker backwoods" as well Olney S?o Paulo was known among friends, journalists and critics, brings this brand in his career because he has never produced a film shown commercially, and yet, the reason various surveys suffered during the military dictatorship in Brazil, the average film Manh? Cinzenta (1969). It is through this work that the memory of a remarkable period in the history of cinema and politics in Brazil is translated into moving images that convey an experience individual and collective, historical and fictional. In this sense, we present the relationship between fictional and documentary aspects of Manh? Cinzenta (1969), focusing on the discussion of cultural engagement in his narrative, marked by political tension, especially between the years 1968 to 1978 and the advent of censorship that came through its mechanisms of oppression and the author's work. Today, 34 years after the untimely death of Olney S?o Paulo, is both possible to recognize it as an important figure in the cultural landscape locally, nationally and internationally, as well as realize the erasure and forgetting about the contribution made by Olney S?o Paulo for Brazilian cinema of the twentieth century. / A presente disserta??o prop?e uma leitura dos aspectos sociais, pol?ticos, hist?ricos e culturais presentes no conto e filme denominados Manh? Cinzenta, 1966 e 1969 respectivamente, de Olney Alberto S?o Paulo (1936-1978). Foi com o objetivo de discutir a realidade do pa?s em suas obras, que o escritor e cineasta logo cedo saiu de sua terra natal, Riach?o do Jacu?pe, para morar e adquirir forma??o escolar em Feira de Santana, ambas as cidades na Bahia, onde desenvolveu atividades ligadas ao teatro, jornalismo e cinema. O ?cineasta maldito do sert?o?, como assim ficara conhecido Olney S?o Paulo entre os amigos, jornalistas e cr?ticos traz, essa marca em sua trajet?ria pelo fato de ter produzido um filme nunca exibido comercialmente, e, no entanto, o motivo dos v?rios inqu?ritos sofridos durante a Ditadura Militar no Brasil, o m?dia-metragem Manh? Cinzenta (1969). ? atrav?s desta obra que a mem?ria de um dos per?odos marcantes na hist?ria pol?tica e cinematogr?fica do Brasil ? traduzida em imagens em movimento que transmitem uma experi?ncia ao mesmo tempo individual e coletiva, hist?rica e ficcional. Nesse sentido, apresentamos as rela??es entre os aspectos ficcionais e documentais de Manh? Cinzenta (1969), privilegiando a discuss?o do engajamento cultural em sua narrativa, marcada pela tens?o pol?tica, principalmente entre os anos de 1968 a 1978 e pelo advento da censura que atingiu atrav?s de seus mecanismos de opress?o a obra e o autor. Hoje, 34 anos decorridos da morte prematura de Olney S?o Paulo, ? tanto poss?vel reconhec?-lo como uma figura importante para o cen?rio cultural local, nacional e internacional, assim como tamb?m perceber o apagamento e esquecimento em rela??o ? contribui??o dada por Olney S?o Paulo para a cinematografia brasileira do s?culo XX.