Os restos de um cinema chamado ambiental: um estudo sobre filmes brasileiros que abordam o meio ambiente desde a década de 1970

• Ano de defesa: 2018
• Autor(a) principal: Alboreda, Solange
• Orientador(a): Santos, Rogerio da Costa
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Comunicação e Semiótica
• Departamento: Faculdade de Filosofia, Comunicação, Letras e Artes
• País: Brasil
• Palavras-chave em Português: Cinema; Responsabilidade ambiental; Política ambiental
• Palavras-chave em Inglês: Cinema; Environmental responsibility; Environmental policy
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://tede2.pucsp.br/handle/handle/20919

Environmental Cinema is a cinematographic subgenre present in shows and festivals that have among their goals to screen films about environmental degradation, pollution, power abuses related to land use, indigenous issues, energy´s usage and goods, catastrophes caused by human action, the use of agrochemicals and many other aspects that permeate man-environment relations. This study concentrates efforts on the understanding of what the environment is made up. For this, the thesis is based on my personal reports and re-readings of Gonçalves Dias's Canção do Exílio, in an allusion to the excessive pride present in our socio-political model and the accompanying conservative romanticism, establishing a critical game with 11 films covering the period from 1970 to the present day. The films selected allow us to reflect on the slipping of terms that translate the left overs of society and the capture of "environmentalism" by the system, which uses it as a commodity and makes us anguished prisoners of a regulated way of life. But man always reinvents himself from the remains and can create another way of thinking and living. The relevant referrals are those that show that for a possible curatorship of this cinema, it is not necessary to concentrate efforts on specific productions, but rather on the possibility of people´s dialogue about the environmental configurations that in each time establishes what is important to see and to be said in a film to increase our strength to coexist