Representaciones espaciales, crítica social y contracultura en la película brasileña Sagrada família (1970)
Sylvio Lanna’s Sagrada família (1970) is a film that the historiography of the Brazilian cinema inserts in the chain of production known as Marginal Cinema. The film proposes a cartography that creates a representation on two distinct spaces of the Brazilian territory (some cities of the State of Mi...
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| Formato: | article |
| Lenguaje: | EN FR PT |
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Centre de Recherches sur les Mondes Américains
2019
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| Acceso en línea: | https://doaj.org/article/cda205990b56424186e2e3b30ddef90e |
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| Sumario: | Sylvio Lanna’s Sagrada família (1970) is a film that the historiography of the Brazilian cinema inserts in the chain of production known as Marginal Cinema. The film proposes a cartography that creates a representation on two distinct spaces of the Brazilian territory (some cities of the State of Minas Gerais and the famous capital of Rio de Janeiro), operating a fracture of language; separating in the narrative the sounds and the images. The film is elaborated as a fiction that follows a strong formal rigor. The images show the journey of a conservative bourgeois family through the mountainous landscape of Minas Gerais. Meanwhile, the sounds, captured in a documentary form in the city of Rio de Janeiro, present a chaotic assembly that brings together icons of the Brazilian musical production of the period, as well as records of the lysergic intimacy of a group of friends devoted to the counterculture. The audiovisual grammar of the work conceives a fractured dispute over the Brazilian territory, thus making an important denunciation of the imposition of power and restriction of individual freedoms that configured the Military Dictatorship in Brazil. |
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