Cinema Guarani e Kaiowá: um estudo sobre a construção de sentido em filmes autorais indígenas

• Ano de defesa: 2024
• Autor(a) principal: Cid Nogueira Fidelis
• Orientador(a): Marcia Gomes Marques
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Fundação Universidade Federal de Mato Grosso do Sul
• País: Brasil
• Palavras-chave em Português: Cinema Indígena; Estudos de Recepção; Linguagem audiovisual; (Auto)Representação; Construção de sentido.
• Link de acesso: https://repositorio.ufms.br/handle/123456789/9235

In relation to media production and reception, some population groups have historically been excluded from the construction of knowledge about themselves; Much of what is known about these segments and groups is known from what others say about them. Regarding the indigenous people who inhabit the country, what does audiovisual production reveal about them and what is known about them from audiovisual products? This work studies the reception, language and construction of meaning of Guarani and Kaiowá films, approaching their productions from the process of interaction between receptors and these products. The research associated the mapping of the language and narrative construction of indigenous films, since these cinematographic productions offer a unique window into the cultures, histories and perspectives of these peoples, with the analysis of the films' reception. Analyzing the filmic elements used in the creation of these films, such as shots, camera angles, camera movements and editing, made it possible to understand how these elements are used in the elaboration of the messages and their specificities. The concepts of Cultural Studies, in general, and Latin American Cultural Studies, based on contributions on mediations, by Jesús Martín-Barbero (2013), on hybridisms, by Nestor García Canclini (2008), and on representation, by Stuart Hall (2016), are fundamental references for this research. Regarding understanding how these films are received by indigenous and non-indigenous audiences, the importance of culture, everyday life and the social reality of the recipients stands out as mediating components of the configurations of meanings generated from this contact. In this case, the sociocultural aspects of the recipients stand out, the resignification and interaction with cultural products and the expression of appropriations made through the cultural practices of the recipients. The research points out how (self)representation in indigenous films operates as producers of meaning, a form of cultural expression and social interaction.