Publicação
From television to cinema: parody and memory of the Brazilian military dictatorship
| Resumo: | This study examines how the films A taça do mundo é nossa (2003), directed by Lula Buarque de Hollanda, and Reis e ratos (2012), directed by Mauro Lima, represent the Brazilian military dictatorship. Within the debate about the context of transmidiation in cinema and television, we intend to discuss how, in both films produced by Globo Filmes, the construction of a memory of that period was made as a parody, based on well succeed models from television created by Rede Globo during the eighties by Guel Arraes and by Casseta & Planeta group. In the cinema, these models surely lost the innovative dimension that they had at time they were made as television series. Simultaneously, they construct a memory that places that period as something concluded, far from the tensions of the moment when those films were produced. |
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| Autores principais: | Kornis, Mônica Almeida |
| Assunto: | Televisão. Cinema. Ditadura militar brasileira. Rede Globo. Globo Filmes. Television. Cinema. Brazilian military dictatorship. Rede Globo. Globo Filmes. |
| Ano: | 2015 |
| País: | Brasil |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | IBICT |
| Idioma: | português |
| Origem: | Oasisbr |
| Resumo: | This study examines how the films A taça do mundo é nossa (2003), directed by Lula Buarque de Hollanda, and Reis e ratos (2012), directed by Mauro Lima, represent the Brazilian military dictatorship. Within the debate about the context of transmidiation in cinema and television, we intend to discuss how, in both films produced by Globo Filmes, the construction of a memory of that period was made as a parody, based on well succeed models from television created by Rede Globo during the eighties by Guel Arraes and by Casseta & Planeta group. In the cinema, these models surely lost the innovative dimension that they had at time they were made as television series. Simultaneously, they construct a memory that places that period as something concluded, far from the tensions of the moment when those films were produced. |
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