A estética do lixo no cinema marginal

Abstract

This work investigates the Aesthetics of Garbage in Marginal Cinema, exploring how this approach transforms the supposed precariousness, imposed on a marginalized and sometimes censored cinema, into a powerful tool of expression. The objective is to analyze this aesthetic and how it was used as a means of political and artistic protest in Marginal Cinema, elucidating its political strength and cultural impact. It seeks to demystify the notion that the Aesthetics of Garbage lacks purpose and intention, highlighting that it represents a conscious artistic choice. The research conducts a film analysis of two works by Rogério Sganzerla, A Mulher de Todos (1969) and Copacabana Mon Amour (1970), emphasizing the stylistic characteristics of the Aesthetics of Garbage and its characters. The results indicate that the Aesthetics of Garbage subverted traditional cinema norms, offering a new form of social criticism. It concludes that, in the context of Marginal Cinema, the Aesthetics of Garbage not only challenges conventions but also asserts itself as a powerful tool of cultural resistance, representing the strength of precariousness rather than merely romanticizing the need.