AmarElo: passagens Intermidiáticas entre o álbum fonográfico e o documentário musical

• Ano de defesa: 2025
• Autor(a) principal: Vieira, Matheus José
• Orientador(a): Paiva, Samuel José Holanda de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Carlos; Câmpus São Carlos
• Programa de Pós-Graduação: Programa de Pós-Graduação em Imagem e Som - PPGIS
• Palavras-chave em Português: Cinema Negro; Intermidialidade; Passagens
• Palavras-chave em Inglês: Black Cinema; Intermediality; Passages
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA::INTERPRETACAO CINEMATOGRAFICA; LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
• Link de acesso: https://hdl.handle.net/20.500.14289/21983

This research project focuses on the musical documentary Emicida: AmarElo – É Tudo Pra Ontem (2019), directed by Fred Ouro Preto and produced by Laboratório Fantasma in coproduction with Netflix. The film analysis is based on the concept of “intermedial passages” (NAGIB, 2018) among the various media products that make up the AmarElo project—album, music videos, live performance, and podcast—to investigate how these relationships construct its narrative. The research is situated within the history of “Brazilian Black Cinema” (CARVALHO, 2022) and seeks to answer: how can the production of this film be understood from the perspective of contemporary Brazilian Black Cinema? The hypothesis suggests that intermedial passages expand the possibilities for inserting Emicida’s discourse and that of Laboratório Fantasma, articulating culture and politics as means of confronting structural racism (ALMEIDA, 2019) in Brazil. The results indicate that intermediality in the documentary is not merely a market strategy but functions as a central element in the construction of a political project. The film reaffirms the memory of Black resistance in Brazil and establishes connections with the Afro-diaspora, revisiting episodes such as the Unified Black Movement’s demonstration at the Theatro Municipal in 1978. To deepen this analysis, the research examines the intermedial passages in the songs AmarElo, Quem Tem um Amigo Tem Tudo, and Pantera Negra.