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Previous issue date: 2015-02-27 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Essa disserta??o exp?e o trajeto do cinema independente pernambucano da Retomada de sua produ??o na segunda metade da d?cada de 1990, at? meados de 2012 quando o setor consegue consolidar um forte Edital de financiamento (Funcultura) para as suas produ??es e paralelamente institui alguns mecanismos simb?licos que contribu?ram para consolidar este novo clico, a p?s-Retomada, s?o eles: a cinefilia e a brodagem. Por se tratar de uma cinegrafia fora do eixo Rio-S?o Paulo, ou seja, fora do grande centro de produ??o da ind?stria cultura brasileira, o cinema produzido em Pernambuco erigiu um modus operandi muito particular, onde entrecruzam-se uma base material, a consolida??o do Funcultura, com duas pr?ticas simb?licas em retroalimenta??o: a cinefilia e a brodagem. Neste sentido, buscamos n?o sobredeterminar a perspectiva material sobre a simb?lica. Com isso, seguimos o trajeto da cinefilia em comunica??o direta com a brodagem, como estas duas l?gicas pressionaram os governantes para constitu?rem um Fundo de financiamento separado das demais linguagens art?sticas do estado. Nesta perspectiva, buscamos tra?ar a trajet?ria desta cinegrafia em suas matizes n?o s? externas, como tamb?m internas aos filmes A partir da?, criamos categorias para definir e distinguir as nuances das produ??es da Retomada e da p?s-Retomada tanto no que se refere ?s op??es ?ticas e est?ticas dos realizadores das duas gera??es. / This dissertation uncovers the path of Pernambuco?s independent cinema of the Retomada, of its production in the second half of the 1990s until mid 2012 when the sector manages to secure a funding edict (Funcultura) for its films and at the same time establishes a few symbolic mechanisms which contributed to the consolidation of a new cycle, the post-Retomada, namely: cinephilia and brodagem.
Because it is a cinematography (pernambucana) outside the Rio-S?o Paulo axis, that is, outside the great center of the brazillian culture industry, the cinema produced in Pernambuco built a very specific modus operandi, in which a material basis, the consolidation of Funcultura, intercrossed with two symbolic practices feeding on each other, cinephilia and brodagem. In this regard, we seek not to establish the material perspective as the primary determination as opposed to the symbolic one. Futhermore, we followed the path of cinephilia in its direct commucation with the brodagem, and how both these logics pressured authorities to institute an incentive funding separated from other artforms in the state.
From this point of view, we attempted to trace the trajectory of this cinematography in its external nuances, but also taking into account the internal nuances of its works of art (films). Following this, we created categories to define and distinguish the nuances of the Retomada and post-Retomada productions regarding ethical and aesthetical choices made by directors from both generations.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufrn.br:123456789/20787 |
| Date | 27 February 2015 |
| Creators | Silva, Renato Kleibson da |
| Contributors | 05452345817, http://lattes.cnpq.br/2957801541347646, Costa, Maria Helena Braga e Vaz da, 45994986453, http://lattes.cnpq.br/5114110813711387, Carvalho, Noel dos Santos, 01394672896, http://lattes.cnpq.br/9305310105250534, Santana, Gilmar |
| Publisher | Universidade Federal do Rio Grande do Norte, PROGRAMA DE P?S-GRADUA??O EM CI?NCIAS SOCIAIS, UFRN, Brasil |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Source | reponame:Repositório Institucional da UFRN, instname:Universidade Federal do Rio Grande do Norte, instacron:UFRN |
| Rights | info:eu-repo/semantics/openAccess |
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