Aproximações entre cinema e poesia: Glauber Rocha e Manoel de Barros

Abstract

This work consists of an analysis of poetry and cinema. The works of the poet Manoel de Barros and filmmaker Glauber Rocha are read, critically, supported by theories of comparative literature, cultural studies, semiotics, linguistics, critical and literary theory and criticism and film theory. Our goal is to reflect on the work of art in contemporary society and its influences and transformations in the XX and XXI centuries. For this, we use the collection of the two authors mentioned because this method allows us to observe the traffic flowing and mutual dialogue between creative writing and filmmaking, bringing aesthetic elements, structural, thematic and stylistic, not the subordination of one artistic field to another. In Barros‟ poetry, we analyze the following books: Poemas concebidos sem pecado (1937), Compêndio para uso de pássaros (1960), O livro de pré-coisas (1985), Concerto aberto para solos de ave (1991), Ensaios Fotográficos (2000) e Menino do Mato (2010). In Rocha‟s cinema we stopped in the following films: Barravento (1961), Deus e o Diabo na Terra do Sol (1964) e Terra em Transe (1967). The choice of these specific works of each author was made in light of an epistemological framework that aims to investigate the transformation of creative verve of the two artists along the trajectory of each in your field. Such works bring emblematic aspects that symbolize and synthesize perspectives of reading and artistic production expanding their limits and boundaries, enabling a range of sharpening to look at the image performed in film and poetry.