A releitura do mito de Ulisses no filme "E ai, meu irmão, cadê você?" sob uma perspectiva audiovisual

• Ano de defesa: 2018
• Autor(a) principal: Araújo, Wllyssys Wolfgang Reis Dias
• Orientador(a): Santos, Elaine Cristina Prado dos
• Banca de defesa: Trevisan, Ana Lúcia , Betella, Gabriela Kvacek
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Presbiteriana Mackenzie
• Programa de Pós-Graduação: Letras
• Departamento: Centro de Comunicação e Letras (CCL)
• País: Brasil
• Palavras-chave em Português: mito; releitura; cinema; educação
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::EDUCACAO::ENSINO-APRENDIZAGEM::METODOS E TECNICAS DE ENSINO
• Link de acesso: http://dspace.mackenzie.br/handle/10899/25523

Mythology has always been in the various forms of human expression; especially in the artistic field (literature, theater, music, painting). With the technological increase, new languages also began to serve as a herald for several myths that, updated, were reinserted in current social, political, economic and cultural contexts, allowing new ways of thinking about human existence, according to the values of each epoch. So it happened in the movie O Brother, Where Art Thou? released in the year 2000 in comedy form, written and directed by brother filmmakers Joel and Ethan Coen. The production, as the authors explicitly put it, is a retelling of the mythical Ulysses to the early 1930s in the United States, when the country faced various social problems where it was assumed that only the gods could excel. The time, called "1929's Crack," overturned all sectors of the country and highlighted the needs of working class people, of which the Everett character (who symbolizes the hero) is a part. From the epic was born a comedy presented in the form of an audiovisual work. This work aims to analyze the epic Odyssey, Homer, and the film O Brother, Where Art Thou? bringing to the surface aspects that are intertwined in a comparative line, from the perspective of the re-reading of the Coen brothers. Then, we will go through the theoretical assumptions made by Mircea Eliade and Joseph Campbell on mythology, and Ismar Soares on issues of audiovisual and communication technologies.