Cinema and intellectuality: artistic creation at the service of the constitution of Brazilian cinematographic thought
Cinema; Intellectuality, Cinema Novo; Authorship; Brazilian Cinematographic Thought.
This thesis intends to investigate the socio-historical bases of modern national cinema to understand the constitution of a matrix of cinematographic thought in Brazil. To achieve this, I turn to the Cinema Novo cinematographic movement, based on the films Rio, 40 Graus (1955), by Nelson Pereira dos Santos, Terra em Transe (1967), by Glauber Rocha, and Macunaíma (1969), by Joaquim Pedro de Andrade, to understand how social, intellectual and aesthetic patterns and parameters emerge from these films and, thus, verifying the plausibility of the answers attributed to the following research questions: is it possible to take some Brazilian cinema films as artistic artifacts that launched theses, interpretations and social thinking about Brazil? Furthermore, is it relevant to think about Cinema Novo's film productions aligned with a reflective matrix that proposes an intellectual exercise on issues important to the country? Finally, can it support aspects that could constitute a notion of authorship in national cinema and Brazilian cinematographic thought?