Modernity, Authoritarianism, and Human Rights in Nelson Pereira dos Santos's Cinema
This article advances a reinterpretation of Brazilian cultural modernity based on a reconsideration of the political and ideological links between intellectuals and criminals that took place from the first government of Getúlio Vargas (1930-1945) onwards. I argue that the temporary coexistence of po...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades
2024
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/45621 |
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| Sumario: | This article advances a reinterpretation of Brazilian cultural modernity based on a reconsideration of the political and ideological links between intellectuals and criminals that took place from the first government of Getúlio Vargas (1930-1945) onwards. I argue that the temporary coexistence of political prisoners and common criminals during a period characterized by authoritarian policies in Brazil in the 1930s was crucial in forming alliances within the prison system because it made the needs of a population victimized by state violence visible. Using a methodological and critical framework provided by Brazilian cinema history, I focus on Memórias do Cárcere (1984), a film by the celebrated director Nelson Pereira dos Santos based on the homonymous work by writer Graciliano Ramos. Ramos’s extrajudicial imprisonment during the Vargas regime, in my view, serves as the point of connection between the situation of the intellectual of modernity subject to various forms of censorship and repression, and the very image of the criminal during Brazil’s authoritarian period (1964-1985). In both cases, political consciousness establishes horizontal relationships among the prison population which helps reimagine the carceral space beyond the mere reproduction of unequal and oppressive social relations. |
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