Not reconciled
form and representation on Joaquim Pedro de Andrade's Os inconfidentes
Abstract
A reading of one of the most elusive masterpieces of modern brazilian cinema, this essay analyses the dead-ends of representation on Joaquim Pedro de Andrade’s Os inconfidentes (1972), taking as points of departure, on the one hand, the tensions among the vast arsenal of formal devices mobilized by the film, working as a sort of reduced model of the whole history of Cinema, from Griffith to Godard, from Eisenstein to Rosselini, and , on the other, the hesitations concerning the view of Tiradentes as a heroe, a status which is, in equal measure, celebrated and disfigured by the mise-en-scène. To discuss the complex clash of meanings that this bet enacts, by exploring some of the formal and political implications of the narrative indecisions, is the main purpose of this article.
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References
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