Ser arquivo, sertão: a constituição de um arquivo cinematográfico sobre o Sertão Brasileiro

Abstract

This dissertation seeks to observe how the cinema that uses the sertão as a theme and plot, from the post-retake of Brazilian cinema, constitutes a file of images and ideas about the region. To this end, we established a dialogue between the reflections of the cinema and the archive, in various fields of study such as archivology, history and philosophy in order to interrogate cinema as a file of an era and as an archival machine. In the first chapter, we refer to Derrida (2001) and Foucault (2008) in order to problematize and broaden the notion of archive, traditionally articulated from the institutional, technical or utilitarian point of view in the fields of administration and archival science. In the second part, thinking about the trajectory of Brazilian cinema about the sertão theme, we propose to understand how this archive of cinema images is developed, constructing a timeline that ranges from the first images produced in the region to the resumption of the in the 1990s. Finally, we access this open and unfinished archive in the period understood as post-retake through four film works, that explore in their narratives the sertão as theme or scenario: Árido Movie (Lírio Ferreira, 2006), O Céu de Suely (Karim Ainouz, 2006), Mãe e Filha (Petrus Cariry, 2011) and A História da Eternidade (Camilo Cavalcante, 2014), with the purpose of identifying the continuities, recurrences, displacements and ruptures of this set of films that compose our corpus, besides visualizing how the cinematographic archive of the sertão in contemporary cinema is constituted.