Pedra da memória - corporalities in transatlantic confluences
DOI:
https://doi.org/10.48075/rt.v15i2.27780Keywords:
Intermediality, movie theater, documentary, culture.Abstract
This paper proposes to bring in an analysis of the documentary film Pedra da Memória (2011), by Renata Amaral, using propositions that observe the different languages and cultural dialogues synthesized in the work. In this effort, we transpose our gaze to the intermidiatic bias of this filmic reading. The narratives present in the film are observed as ways of making visible the transits of an ancestral body memory, that forcibly embarked on Africa, and which were and are reproduced and maintained in Afro-Brazilian religious houses throughout the country. In this opportunity, we conduct approximations and connections based on the possibility and potential that emerges within the artistic film construction, which expresses a tendency and need to converge languages, as a means of bringing together and reformulating historical narratives. In this point of view, two intermidiatic dimensions of the film work can be observed: one that aims to think about the use of image overlays, carried out through a media combination, and another that is dedicated to thinking of the body as an intermidiatic vehicle, marked by perspective and by the ancestor. In order to carry out this reading, we used, fundamentally, the theoretical references coined by the researcher Irina Rajewsky, regarding intermediality, and by the Brazilian historian Beatriz Nascimento, regarding the Afro-Brazilian corporeality as an ancestral vehicle that communicates knowledge.Downloads
References
ARAÚJO, Ana Lúcia. Caminhos atlânticos memória, patrimônio e representações da escravidão na Rota dos Escravos. Varia Historia, Belo Horizonte, v. 25, n. 41, p. 129-148, jan./jun. 2009.
BASTIDE, Roger. O Candomblé da Bahia: rito nagô. São Paulo: Companhia Editora Nacional, 1958.
COSTA, Alexandre. Reflexões sobre o transe ritualístico no candomblé. Ciencias Sociales y Religion / Ciências Sociais e Religião, Porto Alegre, n. 21, p. 72-87, jul./dez. 2014.
DA SILVA, Vagner Gonçalves. Artes do axé. O sagrado afro-brasileiro na obra de Carybé.
FERRETTI, Mundicarmo. Tambor de mina, cura e baião na casa Fanti-Ashanti/MA. São Luís: Governo do Estado do Maranhão, 1991.
FLORES, Elio Chaves. África e Sertão da Paraíba: Luanda, Aruanda. Cadernos Imbondeiro, João Pessoa, v. 4, n. 1, out. 2015.
FUREGATTI, Sylvia. Os monumentos temporários do artista Christo Javacheff. Visualidades, Goiânia v. 12, n. 1, p. 111-131, jan./jun. 2014.
GONDAR, Jô; DODEBEI, Vera. O que é memória social. Rio de Janeiro: Contra Capa Livraria LTDA., 2005.
LIMA, Vivaldo da Costa. O conceito de “nação” nos candomblés da Bahia. Afro-ásia, Salvador, n. 12, 1976.
MERLEAU-PONTY, Maurice. Fenomenologia da Percepção. São Paulo: Martins Fontes, 1999.
MOREIRA, Rodrigo Birck. Concepção cinematográfica e identidade branca: o “ponto oculto” nos documentários Atlântico Negro, na rota dos Orixás (1997), e Pedra da Memória (2011). 2020. 228 f. Dissertação de Mestrado (Programa de Pós-Graduação em Literatura Comparada) - Universidade Federal da Integração Latino-Americana, Foz do Iguaçu, 2020.
RAJEWSKY, Irina O. Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality. Intermédialités, n. 6, 2005. p. 43-64.
RATTS, Alex. Eu sou atlântica: sobre a trajetória de vida de Beatriz Nascimento. São Paulo: Instituto Kuanza; Imprensa Oficial, 2006.
SILVA, Joyce Gonçalves da. Corporeidade e identidade, o corpo negro como espaço de significação. In: CONGRESSO INTERNACIONAL INTERDISCIPLINAR EM SOCIAIS E HUMANIDADES, 3., 2014, Salvador. Anais [...]. Salvador: UCSal, 2014. p. 263-275.
STAM, Robert. Multiculturalismo tropical: uma história comparativa da raça na cultura e no cinema brasileiro. São Paulo: Edusp, 2008.
Downloads
Published
How to Cite
Issue
Section
License
Creative Copyright Notice
Policy for Free Access Journals
Authors who publish in this journal agree to the following terms:
1. Authors keep the copyright and grant the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution License, which allows sharing the trial with acknowledgment of authorship and initial publication in this journal.
2. Authors are authorized to take additional contracts separately, for non-exclusive distribution of the work version, published in this journal (eg publish in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
3. Authors are allowed and encouraged to publish and distribute their work online (eg in institutional repositories or on their personal page) at any point before or during the editorial process, as this can generate productive changes, as well as increase both impact and citation of the published trial (See The Effect of Free Access).
Creative Commons License
This work is licensed under a Creative Commons Attribution–NonCommercial-shareaswell 4.0 International License, which allows you to share, copy, distribute, display, reproduce, completely or part of the work, since there is no commercial purpose, and authors and source are cited.