Banca de QUALIFICAÇÃO: Cardes Monção Amâncio

Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.
DISCENTE : Cardes Monção Amâncio
DATA : 08/10/2018
HORA: 14:30
LOCAL: CEFET-MG, Campus I Belo Horizonte
The free audiovisual image


multitude; neoliberalism; black cinema; birth reborn; urban reform.

GRANDE ÁREA: Lingüística, Letras e Artes
ÁREA: Letras
SUBÁREA: Literatura Comparada

This research investigates how audiovisual production (political, militant and engaged) affects and
is affected by the transformations from the change from Fordist capitalism to cognitive capitalism,
from nation-states to the Empire, and from a new possible conceptualization for mass, class, or
proletarian -- the multitude. The concept of multitude (HARDT; NEGRI) is fundamental to the
study insofar as the research tries to capture the cinema produced by a multiplicity of singularities
and that circulates by the most varied supports, from the social networks to the cinemas. Often a
fragmented cinema displayed in an unedited form, but that by a style and commitment of the people
who produce these images, ends up being a work: dispersed, fluid and powerful. This multitudinous
production will be seen from five segments that are linked to others and form a web of resistance
and production of forms of counter-hegemonic lives: the audiovisual production of social
movements in the countryside and in the city, produced and disseminated through a urgency that in
addition to providing a counterpoint to the media narratives, connects to a becoming-revolutionary
and the act of witnessing; the creation of images that support the birth reborn as a struggle for the
resumption of female protagonism in the act of giving birth, against the medicalization of a
physiological process, whose contemporary neoliberal characteristics insist on transforming into a
commodity; the Black Cinema seen in a historical perspective from the first imagetic productions of
the enslaved black population in Brazil to the collective and contemporary construction of the
cinema itself and of public policies that make this cinema viable; the audiovisual production linked
to urban reform, originated from a self-titled "Resiste Izidora" war machine that set out to confront
the capital-state binomial in Belo Horizonte; and the audiovisual as a portrayal of the period of the
Brazilian civil-military dictatorship of 1964, as resistance to amnesty without punishment of those
responsible for numerous atrocities throughout the period.

Externo à Instituição - CÉSAR GERALDO GUIMARÃES - UFMG
Notícia cadastrada em: 20/08/2018 17:43
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