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How to Cite Complete Issue More Information About This Article Anuário Antropológico ISSN: 2357-738X [email protected] Universidade de Brasília Brasil Fischer, Michael M. J. Bacurau flies at dusk: film, viral cultural politics, Covid-19, hauntings, and futures Anuário Antropológico, vol. 46, no. 1, 2021, -, pp. 166-189 Universidade de Brasília Brasil DOI: https://doi.org/10.4000/aa.7681 Available in: https://www.redalyc.org/articulo.oa?id=599865633009 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative Anuário Antropológico I | 2021 2021/I Bacurau flies at dusk: film, viral cultural politics, Covid-19, hauntings, and futures O bacurau voa no crepúsculo: filme, cultura política viral, Covid-19, assombrações e futuros Michael M. J. Fischer Electronic version URL: http://journals.openedition.org/aa/7681 DOI: 10.4000/aa.7681 ISSN: 2357-738X Publisher Programa de Pós-Graduação em Antropologia Social (UnB) Printed version Number of pages: 166-189 ISSN: 0102-4302 Electronic reference Michael M. J. Fischer, “Bacurau flies at dusk: film, viral cultural politics, Covid-19, hauntings, and futures”, Anuário Antropológico [Online], I | 2021, Online since 03 January 2021, connection on 05 January 2021. URL: http://journals.openedition.org/aa/7681 ; DOI: https://doi.org/10.4000/aa.7681 Anuário Antropológico is licensed under a Creative Commons Atribuição-Uso Não-Comercial-Proibição de realização de Obras Derivadas 4.0 International. anuário antropológico v. 46 • n. 1 • janeiro-abril • 2021.1 Bacurau flies at dusk: film, viral cultural politics, Covid-19, hauntings, and futures O bacurau voa no crepúsculo: Filme, cultura política viral, Covid-19, assombrações e futuros DOI: https://doi.org/10.4000/aa.7681 Michael M. J. Fischer • Massachusetts Institute of Technology – Estados Unidos ORCID: 0000-0002-2871-5943 The Andrew W. Mellon Professor in the Humanities and Professor of Anthropology and Science and Techno- Contato: [email protected] logy Studies, Science Technology and Society (STS) and History Anthropology and Science, Technology and Society (HASTS) Programs, MIT. Main publications are Anthropology in the Meantime (2018); Anthropological Futures (2009); Emergent Forms of Life (2003), Art and Emergent 21st Century Common Sense (forthcoming). 166 This essay is one of a series on the arts and forms of emergent com- Este ensaio faz parte de uma série sobre as artes e formas de senso mon sense in the globally interconnected, politically-semiotically-me- comum emergentes no globalmente interconectado, intensamente dia fraught, Anthropocenic twenty-first century. The arts restlessly play político-semiótico-midiático e antropocênico século XXI. As artes brin- hopscotch with temporalities and locations. Since the days of Third Ci- cam incessantemente de amarelinha com temporalidades e espacial- nema, auteur cinema, and national cinemas, films have attempted com- idades. Desde os dias do Terceiro Cinema, do cinema de autor e dos plex strategies, often mobilizing local and international genre film forms cinemas nacionais, os filmes têm experimentado estratégias com- subversively against themselves to create a cinema of laughter, self- plexas, muitas vezes mobilizando gêneros cinematográficos locais e -recognition, and critique. The 2019 Cannes Jury Award-winning film internacionais subversivamente, contra si mesmos, para criar um cin- Bacurau provides an addictively detailed, yet globally accessible, inter- ema de riso, autorreconhecimento e crítica. Bacurau, filme vencedor vention into the struggles over Covid-19, authoritarianism, and erosion do Prêmio do Júri de Cannes de 2019, oferece uma intervenção de- of indigenous, black, and other marginalized citizens’ rights. As such, it talhada, mas acessível globalmente, nas lutas em relação a Covid-19, is a kind of social drama that encompasses expanding breaches in the autoritarismo e erosão dos direitos indígenas, negros e de outros ci- social fabric beyond its text and reworking temporal relations between dadãos marginalizados. Dessa forma, é uma espécie de drama social pasts and futures. que abarca a expansão das brechas no tecido social para além de seu texto e o retrabalho das relações temporais entre passados e futuros. Bacurau. Aesthetics and critique. Social drama and cultural politics. Hauntings and futures. Brazil-US dyad. Covid-19. Bacurau. Estética e crítica. Drama social e política cultural. Assom- brações e futuros. Díade Brasil-EUA. Covid-19. Bacurau flies at dusk: film, viral cultural politics, Covid-19, hauntings, and futures artigos Michael M. J. Fischer Acknowledgements: With many Exergue thanks to my beta readers and listeners: Mariza Peirano, Luisa Reis Castro, João Biehl, This essay is one of a series on the arts and forms of emergent common sense Adriana Petryna, Maria Beldi in the globally interconnected, politically-semiotically-media fraught, Anthropo- de Alcântara, the participants of the Harvard Friday Morning cenic twenty-first century – a stage on which, and within which, anthropology is Seminar in Medical Anthropo- positioned often as a target because it can deploy potent ethnographic tools to logy, and the two anonymous reviewers. analyze, clarify and make legible the social dramas surrounding films, pandemics, 1 By linguistically fraught, I global protests, and popular culture interferences¹. In the current wave of reac- am thinking of such diagnoses as digitally enabled “post-truth” tionary and authoritarian moves to undo democratic advances – that have been conditions of “equiprobability, unveiled with deadly intensity by the Covid-19 pandemic, exposing old and new where virtually any statement social polarizations – the Brazil-US dyad provides a key ethnographic locus, within can be challenged at very low, or no, cost” (Cesarino, 2020) which the film Bacurau provides a complex lens of both hauntings and futures². and cryptographic models of Bacurau deploys a transnational mix of cultural genres, technological projec- proxy social media to disappear sources, as part of hybrid tion, and mirrorings of deep social polarizations. Its receptions expand the double warfare and politics, inserted consciousness between realism and symbolic logic that semiotically structures into national political systems (Leirner, 2020). On Anthropo- politics in Brazil, the United States, and elsewhere. It becomes, thus, also a social logy as a target, see Neiburg drama, stimulant, and hallucinogen that ignites flashpoints of clarity and con- and Ribeiro (2002), Cabral de Oliveira and Marini (2020), and densations of meaning in singular resonant and memorable images. Tropicália, Cavignac (2020); but also, more Cinema Novo, and Movimento Antropofágico are historical referents, but the social generally, the role of Anthropo- logy in promoting what Almeida drama in Brazil (and its interactions with those in the U.S. and elsewhere) conti- (2020) calls “compensatory nues to unfold today in a series of scandals, murders, the viral spread of Covid-19, politics” (investing in those who and the viral interpellation of global genres, imperialisms, and racisms³. It unfolds have had low social and econo- 167 mic capital) seen as inimical to in American film fantasies of the hunt, the safari, and the science fiction genre of radical neoliberalism. alien invasions which are cultural referents in the film, and in the violence of mass 2 I use Bacurau for the villa- ge-place name; and italicized shootings and police violence in the U.S. alluded to in the film, and even so-called Bacurau for the film name. fifth-generation hybrid warfare in Brazil and elsewhere4. 3 On social drama, see Max Gluckman (1963) and Victor Truth in art, as in psychoanalysis, is the triggering of further examples (social Turner (1957 and his subse- dramas). It can involve passionate reactions and competing decodings of signs, quent work on ritual processes images, and semantics (filmic judgment). To judge such artwork or cinema in- and, with Richard Schechner on theater and performance terventions merely by the rules of genre is to demand not to know. To insist on arts), but on social drama and a modicum of cultural inquisitiveness is an act of citizenship, both national and other arts such as novels and cartoons, inter alia, see Fischer transnational. (1990, 2009). The hope of “Third Cinema” in the 1960s and 70s (in opposition to, or at least 4 It is possible to view what I will call the safari game as an to supplement, both Hollywood and auteur cinema) was to build a cinema outside exercise in the hybrid warfare the commodity system, to figure out how to turn filmic discourses into sustained in Brazil as brilliantly described by Piero Leirner (2020). The movements for political and social reconstruction of society that are neither just clue in the film might be reform that can be recuperated by the commodity system, nor simplistic revo- the identity of the Brazilian lution that has no grassroots social organizational preparation (Solanas; Getino, collaborator who turns out to have a police department 1969). Since then, films have attempted more complex strategies, often mobilizing identity card on him when he is genre film forms subversively against themselves to create a cinema of laughter, killed. Another disturbing strand of the Brazil-U.S. dyad is the recognition, and critique. Bolsonaro-Trump campaigns Brazil is rushing
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