A transição democrática brasileira (1974‐1989) pelas lentes de João Batista de Andrade

Abstract

This article approaches the relationship between memory and media, from the feature film, fiction, The Next Victim (1983), by João Batista de Andrade, starting from the idea that a cultural artifact is a support of memory. If a film, even fictionally, embodies aspects of the present from the period in which it is performed, it constitutes records that give it such a place of memory. Andrade's film, conceived in the early 1980s and heir to the director's professional career, both in the cinema and on television, enters into the memories, as a testimony of the period of democratic transition in Brazil (1974‐1989), or by his dating, or by what artificially builds. In the text, we put, initially, questions that stand out in the key memory and media; then we go through the cinematography of the film‐maker, in what connects to the film in question; the arrival is the film as the memory of the transition.