Publicação
Proletarian world view in Medvedkine groups cinema.
| Resumo: | This article aims to investigate the initial films of the Medvedkine groups, created in Besançon and Sochaux during the late 1960’s and composed by factory workers. The proletarian world view concept, brought by philosopher Herbert Marcuse in Counterrevolution and revolt, is taken as a parameter in this analisis. The films targeted in this study are: Classe de lutte (1969) and Week-end à Sochaux (1972). Regarding these titles, one wishes to analyze the convergences and discrepances between this initial filmography and the avant-garde standards, divided between social protagonism and aesthetic denial, in order to sculpt a comparative view among theory and practice over a filmmaker craft played by the proletarian. One comes to a conclusion that there are disagreements between the object of this review and an avant-garde cinema wich is elaborated during that period. |
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| Autores principais: | Esteves, Leonardo Gomes |
| Assunto: | Cinema francês. Vanguarda cinematográfica. Cinema militante. Grupos Medvedkine. Maio de 68. French Cinema. Avant-garde cinema. Militant cinema. Medvedkine groups. May 68. |
| Ano: | 2020 |
| País: | Brasil |
| Tipo de documento: | artigo |
| Tipo de acesso: | unknown |
| Instituição associada: | IBICT |
| Idioma: | português |
| Origem: | Oasisbr |
| Resumo: | This article aims to investigate the initial films of the Medvedkine groups, created in Besançon and Sochaux during the late 1960’s and composed by factory workers. The proletarian world view concept, brought by philosopher Herbert Marcuse in Counterrevolution and revolt, is taken as a parameter in this analisis. The films targeted in this study are: Classe de lutte (1969) and Week-end à Sochaux (1972). Regarding these titles, one wishes to analyze the convergences and discrepances between this initial filmography and the avant-garde standards, divided between social protagonism and aesthetic denial, in order to sculpt a comparative view among theory and practice over a filmmaker craft played by the proletarian. One comes to a conclusion that there are disagreements between the object of this review and an avant-garde cinema wich is elaborated during that period. |
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