Deus escreve certo por linhas tortas

If cinema is an essentially urban means of expression, the fruit of technique and industry, can a film narrator express in a film’s esthetics a caipira’s « Weltanschauung » (world vision or philosophy) ? We suggest, agreeing with Benjamin – who considers that narrative is the best expression of manual and traditional work’s time– that the story related by the film A proteção de Santo António constitutes a cinematographic narrative which can be classified as caipira. Tenderly called by the audiences Santo António e a vaca, this film was supported by a large part of the population for its making, which allowed to fill in the lack of technical and financial resources. Here, we defend the idea that the visible traces of this work in this particular film, turns it into a real filmic narrative and also into a sincere tribute to caipira culture.

Narrativa e representação: uma leitura de Cidade de Deus

Pós-graduação em Estudos Literários - FCLAR

Irmão Sol, Irmã Lua: gênero, poder e clausura em um mosteiro da Ordem de Santa Clara de Assis - São Paulo

Pós-graduação em Ciências Sociais - FFC

Onde a luta se travar: a expansão das Assembleias de Deus no Brasil urbano (1946-1980)

Pós-graduação em História - FCLAS