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Universidade Federal De Minas Gerais Escola De UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE BELAS ARTES Eduardo Dias Fonseca A CONSTRUÇÃO DA NARRAÇÃO DO NACIONAL NO CINEMA BRASILEIRO E ARGENTINO (1995-2002) BELO HORIZONTE 2019 Eduardo Dias Fonseca A CONSTRUÇÃO DA NARRAÇÃO DO NACIONAL NO CINEMA BRASILEIRO E ARGENTINO (1995-2002) Tese apresentada ao Programa de Pós- Graduação em Artes da Escola de Belas Artes, da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Doutor em Artes. Linha de Pesquisa: Cinema Orientador: Prof. Dr. Evandro José Lemos da Cunha BELO HORIZONTE 2019 Ficha catalográfica (Biblioteca da Escola de Belas Artes da UFMG) Fonseca, Eduardo Dias, 1974- A construção da narração do nacional no cinema brasileiro e argentino (1995-2002) [manuscrito] / Eduardo Dias Fonseca. – 2019. 260 f. Orientador: Evandro José Lemos da Cunha. Tese (doutorado) – Universidade Federal de Minas Gerais, Escola de Belas Artes. 1. Cinema brasileiro – Séc. XX-XXI – Teses. 2. Cinema argentino – – Teses. 3. Cinema – Aspectos sociais – Teses. 4. Cinema – Aspectos políticos – Teses. I. Cunha, Evandro, 1950-. II. Universidade Federal de Minas Gerais. Escola de Belas Artes. III. Título. Dedico este trabalho a meu pai e minha mãe, dos quais a perda, nos últimos quatro anos, foi a mais sentida dentre todas as que eu tive. Os fragmentos, retalhos e restos da vida cotidiana devem ser repetidamente transformados nos signos de uma cultura nacional coerente, enquanto o próprio ato da performance narrativa interpela um círculo crescente de sujeitos nacionais. Na produção da nação como narração ocorre uma cisão entre a temporalidade continuísta, cumulativa, do pedagógico e a estratégia repetitiva, recorrente, do performático. É através deste processo de cisão que a ambivalência conceitual da sociedade moderna se torna o lugar de escrever a nação. (BHABHA, 2013, p. 237) AGRADECIMENTOS Primeiro gostaria de agradecer ao meu orientador, Prof. Dr. Evandro José Lemos da Cunha, pelo suporte e acolhimento do projeto. Obrigado às professoras e professores da Escola de Belas Artes da Universidade Federal de Minas Gerais (UFMG), em especial, ao Prof. Dr. Carlos Falci e ao Prof. Dr. Maurício Gino. Uma grande menção deve ser feita aos meus companheiros e companheiras de docência e aos meus alunos e alunas da UNILA – Universidade Federal da Integração Latino-americana. Agradeço aos meus amigos e amigas, assim como aos familiares que me deram muita força e estímulo para a realização deste trabalho. Gostaria também de registrar um agradecimento especial às bibliotecas da UFMG e da UNILA. RESUMO A partir das relações existentes entre o cinema, entendido como uma arte que se relaciona com a comunicação de massa, e a sociedade, a proposta desta tese é averiguar as interseções entre filmes de ficção e a narração da nação. Há dois recortes primordiais para se pensar a construção da narração da nação. O primeiro é territorial e o segundo temporal. O foco é na cinematografia brasileira e argentina no período de 1995 a 2002. Durante os anos de 1990, os dois territórios foram atravessados por uma série de linhas políticas e econômicas que reconfiguraram o fazer cinematográfico tanto nas narrativas e estéticas fílmicas como nas formas institucionais de fomento. Com este ambiente estabelecido, fez-se a pergunta: quais foram as formas de narrar a nação que emergiram de um grupo de filmes do recorte proposto? Iniciando com o debate em torno a uma diversidade de conceitos para circunscrever os parâmetros das narrações da nação, tais como identidade, representação, povo, nação e cultura nacional, esta pesquisa se debruça sobre relações entre o cinema, visto como sintoma para identificar as marcas dos discursos do nacional, e a construção da narração da nação. O corpus fílmico é o seguinte: Carlota Joaquina, a princesa do Brazil (Brasil, 1995), dirigido por Carla Camuratti; Pizza, birra, faso (Argentina, 1998), dirigido por Bruno Stagnaro e Israel Adrián Caetano; Central do Brasil (Brasil, 1998), dirigido por Walter Salles; Garage Olimpo (Argentina, 1999), dirigido por Marco Bechis; Cronicamente inviável (Brasil, 1999), dirigido por Sergio Bianchi; Nueve reinas (Argentina, 2000), dirigido por Fabian Bielinsky; El bonaerense (Argentina, 2002), dirigida por Pablo Trapero; Cidade de Deus (Brasil, 2002), dirigido por Fernando Meirelles e Katia Lund. Este trabalho está centrado tanto no texto fílmico como fonte para análise das marcas do nacional como nas instituições e legislações para fomento do cinema e as possíveis formas de manutenção do discurso do nacional. Palavras-chave: Cinema Brasileiro. Cinema Argentino. Nação. Narração do nacional. Instituições de fomento. ABSTRACT The proposal of this thesis is to study the intercessions between fiction films and nationhood narration taking into account the existing relations between cinema and society. Cinema is understood as an art that is related to mass communication. There are two primordial cutouts for thinking about the construction of the nationhood narration. The first is territorial and the second is a temporal. The focus is on Brazilian and Argentinean cinematography during the period from 1995 to 2002. During the 1990s, the two territories were crossed by a series of political and economic lines that reconfigure the cinematographic making, both in film narratives and aesthetics, as well as in the institutional forms. Based on this perspective arises our questioning: what are the ways of nationhood narration that emerge from a group of films in the mentioned period? Beginning with the debate around a diversity of concepts to circumscribe the parameters of nationhood narration such as identity, representation, people, nation and national culture this research focuses on relations between the cinema, seen as a symptom to identify the marks of speeches of the national, and the construction of the nationhood narration. The films analyzed are: Carlota Joaquina, a princesa do Brazil (Brasil, 1995), directed by Carla Camuratti; Pizza, birra, faso (Argentina, 1998), directed by Bruno Stagnaro and Israel Adrián Caetano; Central do Brasil (Brasil, 1998), directed by Walter Salles; Garage Olimpo (Argentina, 1999), directed by Marco Bechis; Cronicamente inviável (Brasil, 1999), directed by Sergio Bianchi; Nueve reinas (Argentina, 2000), directed by Fabian Bielinsky; El bonaerense (Argentina, 2002), directed by Pablo Trapero; Cidade de Deus (Brasil, 2002), directed by Fernando Meirelles e Katia Lund. This thesis focuses both on the filmic text as a source for the analysis of national and on institutions and legislations for the promotion of cinema as possible ways of maintaining national discourse. Key words: Brazilian Cinema. Argentinian Cinema. Nation. Nationhood narration. Institution. LISTA DE ABREVIATURAS E SIGLAS ADP – Agrupación de Directores de Películas AGICA – Asociación Gremial de la Industria Cinematografica Argentina ANCINE – Agência Nacional do Cinema CBC – Congresso Brasileiro de Cinema CFP SICA – Centro de Formación Profesional del Sindicato de la Industria Cinematografica Argentina CNC – Conselho Nacional de Cinema COMFER – Comité Federal de Radiodifusión CSC – Conselho Superior de Cinema DAC – Directores Argentinos Cinematográficos DIP – Departamento de Imprensa e Propaganda DNI – Departamento Nacional de Informação DVD – Digital Video Disc EBA – Escola de Belas Artes EMBRAFILME – Empresa Brasileira de Filmes FALTRAC – Federación Argentina de Cooperativas de Trabajadores Cinematograficos INC – Instituto Nacional de Cinema INCAA – Instituto Nacional de Cine y Artes Audiovisuales INCE – Instituto Nacional do Cinema Educativo MP – Medida Provisória MPA – Motion Pictures Association MPEAA – Motion Pictures Export Association of America NCA – Nuevo Cine Argentino PRONAC – Programa Nacional de Cultura SADIR – Sociedad Argentina de Directores Cinematograficos SAv – Secretaria do Audiovisual SICA – Sindicato de la Industria Cinematografica Argentina UFMG – Universidade Federal de Minas Gerais UFPel – Universidade Federal de Pelotas UNILA – Universidade Federal da Integração Latino-americana VHS – Video Home System SUMÁRIO INTRODUÇÃO .................................................................................................................... 13 1: O APARATO CINEMATOGRÁFICO COMO PARTE DA NARRAÇÃO DO NACIONAL .. 32 1.1 A narração do nacional................................................................................................ 32 1.2 Identidade e representação como parte da narração do nacional ........................... 42 1.3 O cinema e a potência para a narração do nacional ................................................. 50 1.4 Imagem em ação: imagem-nação e imagem-povo .................................................... 54 1.5 Cinema como mediação da cultura nacional........ ..................................................... 59 2 CINEMA NO BRASIL E NA ARGENTINA: NARRATIVAS, LEITURAS ESTÉTICAS E A RELAÇÃO COM A CONSTRUÇÃO DA NARRAÇÃO DO NACIONAL. .............................. 63 2.1 Cinema no Brasil e na Argentina (1995-2002) ............................................................ 63 2.1.1 Dois momentos no devir das cinematografias nacionais. ............................................ 67 2.1.1.1 NCA - Nuevo Cine Argentino. ................................................................................... 67 2.1.1.2 Cinema da Retomada no Brasil................................................................................ 70 2.2 Elementos da narração do nacional na Argentina ....................................................
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