O cinema místico-revolucionário de Glaber Rocha

Abstract

Glauber Rocha creates the mise- en-scène of the history of colonization as part of the revolutionary project that aims to question cultural colonization. His work allows the promotion of political autonomy and the end of social inequality. It starts from the principle that in the political sphere Glauber idealized the construction of a revolutionary culture capable of breaking with the old colonial ‘s structures. The main objective of this research is the analysis of the aesthetic constru ction of Glauber Rocha, identifying the revolutionary ideal in its political project, that shows continuities and discontinuities. The ways of desconstruction the form finds in the Mysticism the uniqueness that characterizes the culture of underdevelopment. The fact is that by developing an independent and unique form, Glauber had t o came back to traditional culture to contstructs the mise-en- scène of the Revolution , even if the revolutionary elements of the Western tradition were not expressed in its form. The filmmaker identified in our religious and traditional backgroung the elements to build his mystical-revolutionary cinema. This study examines the association between "Revolution and Mysticism" established in the movies. The corpus of the research is presented by five feature films: Barravento (1962 ), Deus e o diabo na terra do sol ( 1964 ), Terra em Transe (1967), O dragão da maldade contra o santo guerreiro ( 1968) and Cabeças cortadas (1971 ); and two books: Revisão Crítica do Cinema Brasileiro (2003), published in 1963 , and Revolução do Cinema Novo (1981 ). From the latter, we highlight three texts: Estética da Fome (1963), A Revolução é uma Eztétyka (1967) e Eztétyka do Sonho (1971 ). Also with the support of letters and interviews, sources that gather philosophical and historiographical elements, or as we call it “Eztétyka da descolonização”(“Aesthetics of Decolonization). This study deals with the importance of Glauber Rocha‘s project, including its historicity by embracing the contradictions of mapping the discursive connections. The result offers insigths to update cultural colonialism, revealed by a mise- en-scène in wich the mystical experience is generally historicized and potentially revolutionary .