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Universidade Federal Fluminense Instituto De Ciências Humanas E Filosofia Programa De Pós-Graduação Em Sociologia Universidade Federal Fluminense Instituto de Ciências Humanas e Filosofia Programa de Pós-Graduação em Sociologia LEONARDO CORRÊA FIGUEIRA O TRANSE E AS RUPTURAS: O épico-didático na “Trilogia da Terra”, de Glauber Rocha Niterói/RJ 2020 LEONARDO CORRÊA FIGUEIRA O TRANSE E AS RUPTURAS: O épico-didático na “Trilogia da Terra”, de Glauber Rocha Dissertação apresentada ao Programa de Pós-Graduação em Sociologia do Instituto de Ciências Humanas e Filosofia da Universidade Federal Fluminense, como requisito parcial à obtenção do título de Mestre em Sociologia Orientador: Prof. Dr. Jorge de La Barre NITERÓI, RJ 2020 LEONARDO CORRÊA FIGUEIRA O TRANSE E AS RUPTURAS: O épico-didático na “Trilogia da Terra”, de Glauber Rocha Dissertação apresentada ao Programa de Pós-Graduação em Sociologia do Instituto de Ciências Humanas e Filosofia da Universidade Federal Fluminense, como requisito parcial à obtenção do título de Mestre em Sociologia Aprovada em 23 de março de 2020. BANCA EXAMINADORA _________________________________________________________ Prof. Dr. Jorge de La Barre – UFF Orientador _________________________________________________________ Profa. Dra. Tereza Ventura – UERJ _________________________________________________________ Prof. Dr. Antônio Carlos Amâncio da Silva – UFF __________________________________________________________ Prof. Dr. Carlos Eduardo Rebello de Mendonça – UERJ (Suplente) __________________________________________________________ Prof. Dr. Túlio Cunha Rossi – UFF (Suplente) NITERÓI, RJ 2020 À minha família, que me orientou, incentivou e encorajou desde sempre. A todos os professores de todas as disciplinas que cursei no mestrado do Programa de Pós-Graduação em Sociologia (PPGS), por aprofundarem e, sobretudo, estimularem meu interesse pela área. À Universidade Federal Fluminense (UFF) que, não obstante o ataque ao ensino superior público por todo o país, prossegue resistindo e proporcionando aos seus alunos e alunas uma educação de qualidade. AGRADECIMENTOS Ao professor Jorge de La Barre, meu orientador, cuja ajuda possibilitou a elaboração desta dissertação de mestrado e aprimoramento acadêmico. À minha amiga, Bianca Suzy dos Reis dos Santos, por estabelecer contato com o cineasta Sílvio Tendler, para sua participação no VII Seminário Fluminense de Sociologia (2018). A Sílvio Tendler, pela disponibilidade para ser entrevistado e imensa colaboração para o enriquecimento do presente trabalho. Ao ator Antônio Pitanga, pela entrevista gentilmente concedida. À professora Ana Maria Motta Ribeiro, por todo o apoio e sugestões de leitura. À professora Tereza Ventura, pelos esclarecimentos quanto à sua obra, A poética polytica de Glauber Rocha, e pelas conversas por e-mail e WhatsApp. Ao professor Túlio Cunha Rossi, pela participação e colaboração na palestra América Nuestra: aproximações sociológicas sobre Glauber Rocha. À secretária Lícia Barbosa Borges, por todos os esclarecimentos quanto aos detalhes técnicos do mestrado e pela atenção e paciência em providenciar todos os documentos necessários. Ao grande João do Corujão, pelas ótimas conversas sobre cinema e por me ceder sua versão do livro Revolução do Cinema Novo, para a elaboração desta dissertação. A Ruben dos Santos Lima, Rubinho, grande amigo da família, que generosamente me emprestou o livro A poética polytica de Glauber Rocha. Aos meus pais, Fátima e Marcos, ao meu irmão, Vinícius, por toda a atenção e suporte no transcorrer da produção desta dissertação. Agradeço também a todos aqueles que, direta ou indiretamente, contribuíram para a elaboração desta dissertação. Não é mais possível esta festa de medalhas, este feliz aparato de glórias, esta esperança dourada no planalto. Não é mais possível esta festa de bandeiras com Guerra e Cristo na mesma posição. Assim não é possível a impotência da fé, a ingenuidade da fé. E somos infinita, eternamente Prometeu dilacerado. E somos infinita, eternamente filhos das trevas da inquisição e da conversão. E somos infinita, eternamente filhos do medo da sangria no corpo do nosso irmão. E não assumimos a nossa violência. Não assumimos as nossas ideias com o ódio dos bárbaros adormecidos que somos. Não assumimos o nosso passado, todo um raquítico passado de preguiças e de preces numa paisagem de tanto sol sobre almas indolentes, estas indolentes raças da servidão a Deus e aos senhores. Uma passiva fraqueza típica dos indolentes. Ah, não é possível acreditar que tudo isto seja verdade! Até quando suportaremos?! Até quando, além da fé e da esperança, suportaremos?! Até quando, além da paciência, do amor, suportaremos?! Até quando, além da inconsciência do medo, além da nossa infância e da nossa adolescência, suportaremos?! Paulo Martins (Jardel Filho / Terra em transe, 1967) RESUMO Esta dissertação para o Programa de Pós-Graduação em Sociologia (PPGS) da Universidade Federal Fluminense (UFF) visa abordar a filmografia selecionada do diretor do Cinema Novo, Glauber Rocha. Mais especificamente, o escopo desta dissertação diz respeito à proposta do cinema épico-didático do diretor que, no transcorrer de sua trajetória cinematográfica, ofereceu recorrentemente “rupturas”, que tanto adviriam do que se convencionou (segundo o próprio) qualificar como o “transe” do Terceiro Mundo (ou ainda, do mundo subdesenvolvido), quanto a ele fariam frente. Desse modo, almeja estabelecer que, da mesma forma que o cinema épico-didático de Glauber Rocha advém do “transe” para se opor ao mesmo mediante constantes “rupturas” para com os ditames imperantes na cinematografia de seu tempo, ele também pode vir a ocupar o lugar de lócus de “novas formas de subjetividade” em Michel Foucault; e que, além disso, também apresenta um entendimento específico sobre o processo de produção e reprodução da subjetividade naquilo que diz respeito à arte, à obra de arte no âmago da modernidade capitalista. Assim sendo, analisa o período do Cinema Novo, com especial ênfase na filmografia de Glauber Rocha (sobretudo naquilo que concerne a sua “Trilogia da Terra”, ou seja, os filmes Deus e o Diabo na terra do sol, Terra em transe e A idade da Terra). Para se alcançar estes objetivos, também foram utilizadas partes das obras de Boaventura de Sousa Santos, Donna Haraway, Édouard Glissant, Judith Butler e de todo um conjunto de intelectuais latino-americanos da segunda metade do século XX (Enzo Faletto, Agustín Cueva, Mario Arrubla Yepes, Arturo Escobar, Ruy Mauro Marini e Aníbal Quijano), presentes na bibliografia selecionada. Logo, objetiva-se apreender, ao menos parcialmente, as imagens, as personagens, as alegorias, enfim, as narrativas contidas, sobretudo, em Deus e o Diabo na terra do sol, Terra em transe e A idade da Terra, a partir da ótica do cinema épico-didático, em uma associação com as ideias de “transe” e “ruptura” em Glauber Rocha. Palavras-chave: Glauber Rocha. Cinema Novo. Trilogia da Terra. Brasil. Épico-Didático. ABSTRACT This dissertation for the Programa de Pós-Graduação em Sociologia (PPGS) of the Universidade Federal Fluminense (UFF) aims to approach the selected filmography of Cinema Novo’s film director, Glauber Rocha. More specifically, the scope of this dissertation concerns Glauber Rocha’s epic-didactic cinema proposal that, throughout his filmmaking career, recurrently offered “ruptures” that would both come from as well as oppose that which convention (the director’s own, of course) qualified as the Third World’s “trance” (or even the underdeveloped world’s “trance”). As such, this dissertation shall endeavour to establish that, just as Glauber Rocha’s epic-didactic cinema comes from the “trance” to oppose it via “ruptures”, so too can it occupy the position of “new forms of subjectivity” in Michel Foucault. In addition, that it also presents a specific understanding of the process concerning the production and reproduction of subjectivity in regards to art, to the work of art in the heart of capitalist modernity. Therefore, this dissertation shall delve into an analysis of the period of Cinema Novo, with special emphasis on the filmography of Glauber Rocha (mainly the part concerning his well-known “Trilogy of the Earth”, that is, the films Black God, White Devil, Entranced Earth, and The Age of the Earth). Moreover, to succeed in these endeavours, parts of the works of Boaventura de Sousa Santos, Donna Haraway, Édouard Glissant, Judith Butler and a whole group of latinamerican intellectuals from the second half of the XXth century (Enzo Faletto, Agustín Cueva, Mario Arrubla Yepes, Arturo Escobar, Ruy Mauro Marini and Aníbal Quijano) will be included in the selected bibliography. As such, this dissertation’s objective will be to apprehend (at least partially) the images, the characters, the allegories, in short, the narratives contained, mainly, in Black God, White Devil, Entranced Earth, and The Age of the Earth, from the standpoint of the epic-didactic cinema, alongside an association with the ideas of “trance” and “rupture” in Glauber Rocha. Keywords: Glauber Rocha, Cinema Novo, Trilogy of the Earth, Brazil, Epic-Didactic. SUMÁRIO INTRODUÇÃO______________________________________________________10 1 DEUS E O DIABO NA TERRA DO SOL: OS LIMITES DO SERTÃO E A UTOPIA DO MAR___________________________________________________________25 1.1 “LÁ NOS CONFINS DO SERTÃO”: O RECORRENTE DERRAMAMENTO DE SANGUE_________________________________________________________25 1.2 UMA ABERTURA PARA O MAR COM TUDO AQUILO QUE ISTO PODE SIGNIFICAR______________________________________________________35 1.3 UMA CORRIDA DESESPERADA EM DIREÇÃO A NOVAS IDEIAS_________40
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