Taking into account the way filmmakers established associations betweenseveral found footage, creating a line of thought and a story, giving life and meaning to images that, otherwise, would be archived or forgotten, the present article provides a framework, description and interpretation of the documentary-essay regarding the films Bodysong and Life in a day.

Through the cowboy characters in the documentaries O homem de couro(Paulo Gil Soares, 1969-70) and Aboio (Marília Rocha, 2005), this text investigates the different ways the voice appears, particularly a type of song known as aboio. To achieve this purpose, we will analyze testimonies of some of the characters as well as the diegetic and the extra-diegetic soundtracks. We also intend to check the link between performance and memory that finds in singing an important material. This analysis allows us to verify the hypothesis that an informative/pedagogical tone prevails in O homem de couro, while in Aboio the construction of a memory has its cardinal aspect in the displacement.

The deposition of President Dilma Rousseff, in 2016, is a remarkable fact in the recent history of Brazil and the target of a dispute of narratives between right and left through, among others, the production of documentaries. This article analyzes how the Movimento Brasil Livre, which organized acts in  favor of impeachment, narrates these events, placing itself as the protagonist and agent of the narrative.

The article starts from the historical context to formulate a filmic analysis of the animated documentary Torre (2017). The narrative deals with the childhood of Isabel, Gregório, Virgílio and Vlademir, presenting the memories of a family persecuted by the dictatorship in Brazil, from the perspective of their children. The film is assembled as a collage of testimonies, offering an approach that allows hearing the fragments of memory, crossing subjectivities, contributing to the understanding of recent history in a broad sense.

Este trabalho tem o propósito de analisar os discursos aplicados pela campanha publicitária de um óleo português, Cozinhar é um ato de amor. Conversar também., difundida no Natal de 2020, um dos momentos de agravamento da pandemia causada pela COVID-19 e das impostas limitações de encontro entre as pessoas. Focado no papel que ocupam a memória e o idoso na sociedade contemporânea, o princípio da memória coletiva contribuiu para buscar as respostas para a pergunta: como a publicidade constitui vínculos entre os consumidores e os produtos alimentares que escapam aos discursos da saúde perfeita? Amparado pela semiótica da cultura e pelos discursos ligados aos programas biopolíticos que agem na esfera comunicacional, este estudo conferiu que os discursos mnêmicos se tornam estratégicos para convocar ao consumo de alimentos enquadrados como nocivos pelos ditames da saúde.

Based on a review of historical events, especially in the 20th and 21st centuries, which caused immeasurable displacements of human beings, this article proposes to analyse the «migrant writing» in the Hanoi novel, by Adriana Lisboa, bringing a reflection about exile, transculturality, memory, post-memory and melancholy, aspects present in heiresses of family traumas or exiled characters. Hanoi brings the complexity of these human transits, the implications originated from the deterritorialization and coexistence with other cultures, experiences that cause strangeness in the world’s apprehension. In this novel, the Vietnam refugees in the USA need to adapt to a new culture and language, both very different from their own.

The research Registros de memória em imagens: usos e funções da fotografia mortuária em contexto familiar na cidade de Bela Vista de Goiás (1920 – 1960) proposes analysis about the ways in which bereaved families used the portraits of the deceased during the mourning period. For this, we fixed the town of Bela Vista de Goiás as the space for research, trying to establish relations between the content expressed in the photographs collected in the town and the cultural context that was around the production and use of these images. The mortuary portrait appeared practically at the same time of the photographic technique, and enjoyed a great social acceptance in Brazil and in other western societies until the middle of the twentieth century. There are certain ideas expressed in these portraits of a Christian collective mentality about death, especially the imaginary about the good and the beautiful death. In Bela Vista de Goiás we found the interference of the Catholic faith in the building and in several uses that families of the town have did with the pictures of their dead, as a way of keeping alive his memory. This study, therefore, try to contribute with discussions about the collective attitudes towards death and death rituals, and reflect about a specific type of use of the photograph in a process of building family memories.

This dissertation examines the actualization of some themes of labourist political culture during the process of the consolidation of democracy in Brazil. Considering the relation between memory and history, i studied Darcy Ribeiro‟s political career and the role it played in the change of ownership and principles of labourism, allowing a new political synthesis, active in the 1990s. Accordingly, in the assessment of his politic experiences, since the 60's, i found that such experiences have become shareholders of this renewed political culture. His parliamentary activity, during the 90s, brought into the political debate the issues dear to the design of basic reforms of the 1960s, namely: national development, a republican project, and proposals on education and land reform. Thus, the political experiences of the years 1960 and 1990 were compared, in the light of the concept of political culture, aiming to demonstrate how to change ownership in conformity to a political project for Brazil.

The use of the photos combined to oral reports recover the historical trajectory of specific social groups. From photographs of Campinas produced by the photographer Hélio de Oliveira and the combination of these with the oral documentation, it is considered the forms of construction over the years, the feeling of belonging, training and consolidation of the identity of the residents of Campinas, municipality that, in mid-1930, has been incorporated to Goiânia, capital of the new State of Goiás, coming to be one of the neighborhoods in the subsequent decades. Key-words: Campinas, Goiânia, photographs, memory, identity, soccer, goianiense athletic club, Hélio de Oliveira.

The project A Palavra e o Ato: Memórias Teatrais em Goiânia ( The Word and the Act: Theatral Memories in Goiânia) is the result of a bibliographical research, directed by professor Márcio Pizarro Noronha, building a theoretical body for the analysis of verbal interviews collected from the artists and collaborators of the group Teatro Exercício from Goiânia and mainly from its major member, Hugo Zorzetti, director and dramatic writer of the trupe. The theories raised along their work go throughout the studies of memory, narrative and Art-History relations, on one side, and the studies of the non-verbal communication, performance of the social actor and the narrative as performance, on the other side, taking for scenary the constant relationship between the artist and the city, searching for the influences between them both and the expression of the environment through art. The theoretical quarrel happens, at a first moment, aside the empirical results. At a second moment the narrative of the memories of the interviewed individuals takes place while they tell the trajectory of the group since it was born, in the decade of the 70 s, during the fullness of Brazilian Military Dictatorship, going through the experience of the inclusion of the main artists of the company in a public cultural agency, finally reaching the attempt of the opening by the company of the Teatro da Liberdade ( Liberty Theater ), already in the end of the decade of the 80 s. The analysis of the interviews intends to search for the confrontation of these artists with the city of Goiânia, place of artistic accomplishments of the group, beginning with the analysis of their memories focused on the bias of the narrative, including all subjects and also to the bias of performance, in the case of previously cited Hugo Zorzetti, by the interlacement of historic, artistic, literary and sociological theories