Um exemplo de inversão do domínio ideológico norte-americano no Brasil
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2013-12
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We propose to discuss the North-American ideological and cultural domination over Brazil, pointing out some examples and relevant documents. The example is related to the, so called, Good Neighbour Policy, which started in 1933, and lasted until the end of World War II, during Getúlio Vargas’s government in Brazil, and Franklin Roosevelt’s government in the United States. The need for political propaganda took the form of cultural "seduction" conducted by U.S. might over its Latin American neighbours. In this sense, the political moment of ideological attempt to "adoption" of Brazil by the United States was marked by "ordering" Walt Disney to create cultural products such as the trickster character Zé Carioca. The most ambiguous example of ideological ambition marking this domain, is the Orson Welles film commissioned, but never completed, entitled: It's All True. This famous director’s unfinished movie was filmed in 1942, and only became known in 1993 when other American directors made a documentary film reassembling parts of the movie. This documentary material was also reconstructed through the research of the Brazilian filmmaker Rogerio Sganzerla, through which a tetralogy consisting of these films appeared: Not Everything Is True (1986), Orson Welles’s Cinematic language (1990), All Is Brazil (1997) and Sign Of Chaos (2003). This cultural project of political domination, which Orson Welles was commissioned to undertake, ended in failure, as he diverted his attention from the glamorous city of Rio de Janeiro and Carnival, to film the saga of fishermen (jangadeiros), fighting for their labour rights. The political overtones of the film determines its failure in the ideological field of U.S. political propaganda. Sganzerla opted to criticize the American ideological domination, always present in Brazilian culture, in a very ambiguous way. The ambiguity permeates the attitude of the two film makers: the great Orson Welles and the audacious Rogério Sganzerla, known for his verve and critical disparity with the film maker Glauber Rocha. When we read about what is a "film-essay" or a "filmic essay", one of the first names that jumps ahead of the others is Orson Welles, especially in his "F for Fake". We can find in this genre the closest rapport between Welles and Sganzerla. Herein, we note that the contrast marked by the U.S. cultural political domination, results in another aspect, more positive, of a real cultural exchange, based on film language, which could possibly be transmuted into political liberation and openness to cross-cultural thinking.
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Ideologia, Imperialismo, Filme-ensaio, Welles, Sganzerla, Ideology, Imperlialism, Film-essay, Welles, Sganzerla
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DAMIÃO, Carla. Um exemplo de inversão do domínio ideológico norte-americano no Brasil. Viso: cadernos de estética aplicada, v. 7, n. 14, p. 40-55, jul./dez. 2013.