Name: Mario Victor Marques Margotto
Type: MSc dissertation
Publication date: 21/05/2021
Advisor:
| Name | Role |
|---|---|
| Lutero Proscholdt Almeida | Advisor * |
Examining board:
| Name | Role |
|---|---|
| Lutero Proscholdt Almeida | Advisor * |
| Clara Luiza Miranda | Internal Examiner * |
Summary: Through an exploratory research, seeks a first approach to a object little studied when
taken as a group: the cities represented in Brazilian science fiction cinema. In addition
to a bibliographic review and a theoretical reflection, utilizes case studies in order to
explore the cities represented in three contemporary works: Cold Tropics (Recife Frio)
(2009), White Out, Black In (Branco Sai, Preto Fica) (2014) and Chico (2016). First,
starts with a discussion regarding urban utopias, as proposed by Caúla (2019),
bringing and expanding the concept of hipo-utopia (FERREIRA, 2015) to
contextualize, categorize and characterize both the group of science fiction films
produced in the global South, as well as the urban utopias produced by Brazilian
science fiction cinema. In a complementary way, comments on the modernization and
urbanization process in the Brazilian historical context, highlighting its condition
permeated by inequalities, discrepancies and contradictions (MARICATO, 2000,
2015), in order to reinforce the compatibility of the concept of hipo-utopia, as well as
to illustrate and contextualize the urban reality through which this category of film aims
to explore through its speculations. Concerning the film analysis, two inputs are used
to reach these representations: on the one hand, the elements of science fiction
narrative, the \"novum\" and the \"cognitive estrangement\" (SUVIN, 1979), and, on the
other hand, the interpretation of scenarios and spaces through the possibilities of the
cinematographic language and the aesthetics developed by each work. Understanding
that this cinema produces its other-places using the filmed city (COMOLLI, 1997),
through cuts and decisions that are characteristic of the seventh art, it becomes a
protagonist (FORD, 1994, COSTA, 2002) that, on the one hand, singles out the city,
and, on the other, highlights its elements. In this sense, besides the films address the
social disparities of a peripheral region regarding modernization and urban
development (FERREIRA, 2012; GINWAY and BROWN, 2014; PAZ, 2008), cities are
also enhanced as a place of estrangement, which these movies explore. A first step
was taken to understand this group of films, however, there are relevant issues that,
given its complexity, were note developed in this research, requiring further studies.
