Paulo Emílio Salles Gomes e a eficácia discursiva de sua intepretação histórica: reflexões sobre história e historiografia do cinema brasileiro

We intend with this research to contribute to the contemporary debate pertinent to the history of Brazilian cinema, its historiography and its writing procedures. Thereunto, we sustain the view that the historical interpretation composed by the essays Panorama do Cinema Brasileiro: 1896/1966 (1966) and Cinema: trajetória no subdesenvolvimento (1973) arranged by the critic and historian Paulo Emilio Salles Gomes, due to their epistemological postulates and narrative strategies, constitutes a version about the history of national cinema of expressive discursive efficacy.

Eficácia política de uma crítica: Paulo Emílio Salles Gomes e a constituição de uma teia interpretativa da história do cinema brasileiro

This work aims to contribute to theoretical and methodological analysis of writing the history of Brazilian cinema. The object of this study the trilogy of articles in Cinema: the trajectory of underdevelopment regimented, the critic and historian Paulo Emílio Salles Gomes, seeks to understand the process of setting up a web interpretative history of our film based on this work and how to rescue its historicity.

O produtor familiar na pecuária leiteira : limites e potencialidades

The technological change is nowadays, comprehended as a playing field which involves cultural and economic processes of appreciation and depreciation of the social aspects of family unit. The exclusion of small producers from the activity is used as an argument to characterize that in the contemporary intercapitalist competition, the family ways of production take up restrict social positions of a technical progress and of a cultural and economic appreciation. The state, a coparcener of the modernization process, has its relevance as a financing agent, a technical capacitor, an infrastructure propitiator, that is, through macro and microeconomic policies which can create sustainable conditions to permit, mainly, not only the family producer to be inserted in the activity, but, above all, to remain in it. This way, this study aims to identify and analyze the family producer, through its limits and potentialities, with a thesis that this would be the main agent responsible for boosting the Brazilian milk production in quantity and quality. Therefore, results were compared obtained from a field survey with data collection via semi-structured open interviews in a sample of 108 producers effectively respondents, namely: 59 family farmers with active DAP (research focus) and 49 employers producers the municipality of Monte Alegre de Minas - MG. Technological indices were used to identify the developmental stage of the producers, thus allowing a comparative study between them. The field research covered all rural municipality of Monte Alegre de Minas – MG and, the result found that the majority of family farmers presented lower rates than technological employers producers. However, it allowed us to state also that the producer family and assisted by public policies, can be the agent of transformation of dairy farming.

História, literatura e cinema: um debate sobre a historicidade das imagens dos piratas e da pirataria

We seek, through this work, to understand the construction of the pirates’ images from the Golden Age of Piracy (late seventeenth through early eighteenth century) through the observation of the circulation of these images, which are not limited to one field of knowledge. We take into account the importance of the book “A General History of the robberies and murders of the most notorious pirates...” written by Charles Johnson for these constructions, not only literary, but also historiographical provided that the stories of pirates and piracy gained ground in historiography from the twentieth century on. We also seek to show that this historiographical space arises opposed to an apparent historiographical silence about these stories that lasts for about two centuries, related to a new way of writing history in the aesthetic regime, where it arises as a science through a poetics of knowledge, of which the philosopher Jacques Rancière helps us reflect. Lastly, reflecting upon how these images of pirates circulate nowadays, we seek to understand the historicity of the pirates’ images within that aesthetic regime based on some scenes of the film series Pirates of the Caribbean by Disney™.