This text aims to present, based on cinematographic representations, workers who are socially, culturally and politically invisible. Workers who have their representation in films as a possible plan to “rob a bank without being seen”. Through a cinematographic selection, films are presented that allow the discussion of this invisibility, not only in cinema but in society. Cinema as a representation and at the same time a trigger for the problem.
First, it elucidates the peculiarities of the Aristotelian Coercive Tragic System. Second, it seeks to understand, through the assertions expressed in the Theatre of the Oppressed, how Boal represents the continuation of Brecht’s critique of the concept of catharsis. To address these categories, the study will draw on the works of the aforementioned playwrights and interpreters such as Jameson (2007), Lunn (1986), Miranda (2011), and Zanetti (2015).
This text aims to identify the limits of identity policies implemented in the United States since the 1960s, and their repercussions for the black population in economic, political, and cultural spheres. Through a materialist-dialectical approach in Haider (2019), Ture and Hamilton (2021), and Butler (1999), the contradictions of these policies in relation to the material reality of the country's black population were pointed out.
Partindo do exame das categorias que se encontram engendradas historicamente na totalidade das relações sociais de produção do negócio cinema, o texto se debruça conclusivamente sobre a importância da educação estética como meio de apreender o valor artístico de “obras que realmente importam”, como o filme Bye bye Brasil, de Cacá Diegues, e Ainda estou aqui, de Walter Salles. Palavras-chave: cinema, ideologia da estética, política, educação.
Historiographical work, like all sciences, is a constant appeal to all accumulated knowledge, to evidence placed in the light of criticism of the categories and concepts that order the world of knowledge. In this second decade of the 21st century, photography has become a protagonist, given the amount of information brought by the arts and by all the digital manipulation of visual and sound images. We have divided the text into three parts: first, the photographic object, memory and truth; then, photography as art; then, photography as a source of research and our final considerations.
