Banca de DEFESA: IEDA KYVIA CRUZ DA SILVA

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : IEDA KYVIA CRUZ DA SILVA
DATE: 26/02/2026
TIME: 17:30
LOCAL: Videoconferência (Google Meet)
TITLE:

Between invention and mess: Marginal Cinema and the representation of brazilian reality in the leading years of the military dictatorship

KEY WORDS:

Cinema Marginal; Brazilian Experimental Cinema; Cinema and Dictatorship; Aesthetics of Garbage; Brazilian Counterculture; Latin American Cinema, Sociology of Culture and Art. 

PAGES: 172
BIG AREA: Ciências Humanas
AREA: Sociologia
SUBÁREA: Outras Sociologias Específicas
SUMMARY:

Brazilian Marginal Cinema was an experimental film movement active during the 1960s and 1970s. Its independently produced films were made outside the institutional framework of Embrafilme — a state-owned company established in 1969 to regulate, produce, and distribute works intended to promote national culture — and were developed by production companies such as Boca do Lixo and Belair. Influenced by countercultural movements, these filmmakers sought to break with Hollywood industrial standards by embracing auteur cinema and by ridiculing conventional narrative and aesthetic forms associated with mainstream cinema and advertising. By foregrounding the precariousness of their productions, they transformed cinema into a space for discussion and denunciation of Brazil’s condition as a peripheral nation. Considered subversive by both critics and state censorship, these films are marked by provocations concerning politics, morality, and the social norms endorsed by the conservative regime. This dissertation aims to analyze Brazilian Marginal Cinema through its historical, aesthetic, and political conditions, investigating its strategies of action during the “Anos de Chumbo” of the Brazilian civil-military dictatorship. The first chapter adopts Raymond Williams’s cultural materialism as a methodological framework to examine the social, political, and artistic context of the period. The second chapter analyzes the group’s aesthetic choices and their political potential. The third chapter presents a close film analysis, focusing on the emergence of textual, visual, and sonic elements related to Brazilian identity. The films analyzed are Meteorango Kid, O Herói Intergaláctico (1969), by André Luiz Oliveira; Copacabana, Mon Amour (1970), by Rogério Sganzerla; and Orgia ou o Homem Que Deu Cria (1970), by João Silvério Trevisan.

COMMITTEE MEMBERS:
Presidente - 1693229 - GILMAR SANTANA
Interno - ***.963.294-** - ANAXSUELL FERNANDO DA SILVA - UNILA
Externa à Instituição - MARIA FÁTIMA DE OLIVEIRA - IFRN