Marcos Napolitano
Universidade de São Paulo, Departamento de Historia, Faculty Member
História, cotidiano e memória social – a vida comum sob as ditaduras no século XX A imprensa e a construção da memória do regime militar brasileiro (1965-1985)* The newspapers and the making of the memory of the Brazilian military regime... more
História, cotidiano e memória social – a vida comum sob as ditaduras no século XX A imprensa e a construção da memória do regime militar brasileiro (1965-1985)*
The newspapers and the making of the memory of the Brazilian military regime (1965-1985)
La prensa y la construcción de la memoria del régimen militar brasileño (1965-1985)
Resumo: Neste artigo, pretendo analisar os editoriais de quatro jornais da grande imprensa (O Estado de São Paulo, Folha de São Paulo, Jornal do Brasil e O Globo) nos aniversários anuais do golpe de Estado de 1964, mapeando as vicissitudes da representação sobre este evento e sobre o regime ditatorial que se seguiu. Nesta perspectiva, pretendo analisar as guinadas e revisões da memória liberal sobre o regime militar, partindo da hipótese que foi esta linhagem ideológica que definiu as bases de uma memória hegemônica sobre o período histórico, calcada na " resistência democrática ".
Abstract: In this article, I analyze the editorials of the major newspapers of Brazil (O Estado de São Paulo, Folha de São Paulo, Jornal do Brasil, O Globo) published on the anniversaries of the 1964's Coup D'Etat. I try to understand the changes of the discursive representation of this event and the dictatorship that followed. From this perspective, I point out the revisions of the liberal memory of the military regime. That ideological current, in my point of view, defined the mainstream of a hegemonic memory of the historical period, based on " democratic resistance " .
The newspapers and the making of the memory of the Brazilian military regime (1965-1985)
La prensa y la construcción de la memoria del régimen militar brasileño (1965-1985)
Resumo: Neste artigo, pretendo analisar os editoriais de quatro jornais da grande imprensa (O Estado de São Paulo, Folha de São Paulo, Jornal do Brasil e O Globo) nos aniversários anuais do golpe de Estado de 1964, mapeando as vicissitudes da representação sobre este evento e sobre o regime ditatorial que se seguiu. Nesta perspectiva, pretendo analisar as guinadas e revisões da memória liberal sobre o regime militar, partindo da hipótese que foi esta linhagem ideológica que definiu as bases de uma memória hegemônica sobre o período histórico, calcada na " resistência democrática ".
Abstract: In this article, I analyze the editorials of the major newspapers of Brazil (O Estado de São Paulo, Folha de São Paulo, Jornal do Brasil, O Globo) published on the anniversaries of the 1964's Coup D'Etat. I try to understand the changes of the discursive representation of this event and the dictatorship that followed. From this perspective, I point out the revisions of the liberal memory of the military regime. That ideological current, in my point of view, defined the mainstream of a hegemonic memory of the historical period, based on " democratic resistance " .
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This article proposes a new periodization to analyze the process of the Brazilian Military Regime’s memory construction. Assuming that social memory and historical experience of a certain society are connected, we seek to analyze the... more
This article proposes a new periodization to analyze the process of the Brazilian Military Regime’s memory construction. Assuming that social memory and historical experience of a certain society are connected, we seek to analyze the organization of a “mutable memory” around the regime since the 1970’s until the first decade of the 21st century. Our central hypothesis points to the existence of a hegemonic memory, critical on the military government, built in a confluence of liberal sectors (critical about the regime authoritarian aspects in the beginning of the 1970’s) with leftist sectors, notedly the left linked to the Brazilian Communist Party (PCB). From these assumptions, I seek to investigate and to analyze more minutely three of the four phases of the memory about the regime between 1974 and 2004.
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Este artigo traça um roteiro de leituras e questões teórico-metodológicas em torno da reflexão historiográfica sobre a música popular brasileira. Partindo de uma experiência pessoal de formação e pesquisa, aponto tendências de... more
Este artigo traça um roteiro de leituras e questões teórico-metodológicas em torno da reflexão historiográfica sobre a música popular brasileira. Partindo de uma experiência pessoal de formação e pesquisa, aponto tendências de investigação histórica, problemas heurísticos e debates metodológicos que vêm marcando o campo historiográfico da música popular desde os anos 1980. Além de mapear o estado da arte, o artigo sugere novos temas e pro-blemas de trabalho sobre a música brasileira. Música popular: historiografia • História cultural • Música popular: Brasil This article intends to be a map of the historiographic questions on Brazilian popular music. Based on my personal experience as scholar, I propose research trends, heuristic problems and methodological debates, which characterize the agenda of popular music studies in Brazil since 1980's, from a historiographic perspective. Besides this points, the article proposes further themes and problems to new researches on Brazilian music.
Sui cides and rev el ers: chanchada, carnivalization and re al ism in the film Tudo azul by Moacyr Fenelon (1951) Marcos Napolitano O ci ne ma e a con fi gu ra ção cul tu ral e po lí ti ca dos anos 1950 No co me ço dos anos 1950, al guns... more
Sui cides and rev el ers: chanchada, carnivalization and re al ism in the film Tudo azul by Moacyr Fenelon (1951) Marcos Napolitano O ci ne ma e a con fi gu ra ção cul tu ral e po lí ti ca dos anos 1950 No co me ço dos anos 1950, al guns ci ne as tas bra si le i ros dis cu ti am como cons tru ir uma ci ne ma to gra fia " na ci o nal e po pu lar " que fos se pro du zi da fora dos cir cu i tos dos gran des es tú di os e que va lo ri zas se te mas e per so na gens bra si le i ros. Além dis so, tra ba lha vam para con se guir que o Esta do ela bo ras se leis que apo i as
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This paper intends to examine a specific type of relationship between cinema and popular music, whose historical trajectory can be located between the 1930s and 1950s, and which expressed the attempt to build a popular type of film that... more
This paper intends to examine a specific type of relationship between cinema and popular music, whose
historical trajectory can be located between the 1930s and 1950s, and which expressed the attempt to build a popular
type of film that was the expression of a Brazilian national identity. In many films of this period, popular music not only
played a functional or ornamental role in the narrative, but it was also themed as a “representation” of social, aesthetic
and ideological dilemmas connected with “Brazilianness”, as seen by the political left, especially the left connected with
the Brazilian Communist Party. This view was condensed in the film Rio, Zona Norte(1957) by Nelson Pereira dos Santos,
in which the similarities and differences between the black composer from the shantytown and the white classical
musician can be seen as an expression of the dilemmas and contradictions of this cultural project.
historical trajectory can be located between the 1930s and 1950s, and which expressed the attempt to build a popular
type of film that was the expression of a Brazilian national identity. In many films of this period, popular music not only
played a functional or ornamental role in the narrative, but it was also themed as a “representation” of social, aesthetic
and ideological dilemmas connected with “Brazilianness”, as seen by the political left, especially the left connected with
the Brazilian Communist Party. This view was condensed in the film Rio, Zona Norte(1957) by Nelson Pereira dos Santos,
in which the similarities and differences between the black composer from the shantytown and the white classical
musician can be seen as an expression of the dilemmas and contradictions of this cultural project.
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Humberto Mauro’s 1935 film Favela dos meus amores (‘The slum of my loves’), now unfortunately lost, was very well received by critics and the public and became a cultish film for Brazilian critics over the following decades. In this... more
Humberto Mauro’s 1935 film Favela dos meus amores (‘The slum of
my loves’), now unfortunately lost, was very well received by critics
and the public and became a cultish film for Brazilian critics over
the following decades. In this article through documentary fragments
about the film I will articulate three main issues: 1) the role of the
film in the construction of a new national identity and of a new urban
popular culture with Rio de Janeiro at its centre; 2) the ideological
and aesthetic aspects of the critical reception to the film; 3) the film’s
role as a part of the memory of Brazilian cultural history. Through an
understanding of these three issues I analyse the impact of the film
in the formation of a new ‘national-popular culture in Brazil, whose
ideological meaning was disputed by both the political left and right
my loves’), now unfortunately lost, was very well received by critics
and the public and became a cultish film for Brazilian critics over
the following decades. In this article through documentary fragments
about the film I will articulate three main issues: 1) the role of the
film in the construction of a new national identity and of a new urban
popular culture with Rio de Janeiro at its centre; 2) the ideological
and aesthetic aspects of the critical reception to the film; 3) the film’s
role as a part of the memory of Brazilian cultural history. Through an
understanding of these three issues I analyse the impact of the film
in the formation of a new ‘national-popular culture in Brazil, whose
ideological meaning was disputed by both the political left and right
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Resumo: Neste artigo, apresento uma cartografia crítica da cultura brasileira entre 1955 e 1964, período crucial para o surgimento e afirmação de valores ideológicos, estéticos e culturais que marcaram a vigorosa cena cultural que tinha... more
Resumo: Neste artigo, apresento uma cartografia crítica da cultura brasileira entre 1955 e 1964, período crucial para o surgimento e afirmação de valores ideológicos, estéticos e culturais que marcaram a vigorosa cena cultural que tinha como principal característica a formulação de projetos marcados pelo engajamento na construção do Brasil moderno e socialmente integrado. Os movimentos intelectuais e artísticos do período tentaram equacionar os dilemas e impasses do atraso histórico brasileiro, visando influenciar as políticas de Estado na superação do " subdesenvolvimento ". Parto do pressuposto de que a cena cultural da época remetia a certos elementos do modernismo, como a busca da identidade nacional e o protagonismo do intelectual, além de preparar a " hegemonia cultural " da esquerda nacional-popular depois do golpe de 1964. Ao longo do artigo examino a historicidade específica dos projetos artístico-culturais e mapeio as várias correntes que protagonizaram a vida cultural brasileira neste momento-chave que propiciou um peculiar entrelaçamento entre política e cultura. Palavras-chave: Brasil: história cultural, Brasil: cultura e política, engajamento intelectual. Abstract: This article presents a critical mapping of Brazilian culture between 1955 and 1964, a crucial period for the emergence and affirmation of ideological, aesthetic and cultural values that marked the vigorous cultural scene in Brazil. That cultural milieu had at its core the formulation of projects shaped by engagement in the construction of a modern and socially integrated Brazil. The intellectual and artistic movements of the period tried to express the dilemmas and predicaments of Brazilian backwardness by attempting to influence state policies that were designed to overcome " underdevelopment ". My starting point is that the cultural scene of the era referred to certain elements of modernism, such as the search for national identity and the role of the intellectual, and helped to prepare the " cultural hegemony " of the national-popular left that arose after the 1964 coup. The article examines the specific historicity of artistic-cultural projects and maps the various currents that shaped Brazilian cultural life during this key moment, which provided a specific intertwining of politics and culture.
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Des rythmes du candomblé aux avant-gardes esthétiques les plus radicales, la culture joue un rôle central dans l'émergence du Brésil contemporain. Issu du dialogue entre historiens français et brésiliens, cet ouvrage parcourt des domaines... more
Des rythmes du candomblé aux avant-gardes esthétiques les plus radicales, la culture joue un rôle central dans l'émergence du Brésil contemporain. Issu du dialogue entre historiens français et brésiliens, cet ouvrage parcourt des domaines variés, de la littérature romantique à la musique populaire en passant par le théâtre et le cinéma, la mise en scène des corps, la mémoire et la fabrique de héros culturels. Les constructions identitaires, les politiques culturelles, les phénomènes d'emprunts et de métissage sont au coeur de la réflexion. Quatre décennies après l'émergence de l'histoire culturelle, cet ouvrage dresse un bilan d'étape et pointe les tendances actuelles de la recherche. Au fil des treize essais qui le composent, il donne à voir, à lire et à entendre la diversité brésilienne dans la perspective d'une histoire culturelle transnationale, loin de toute tentation exotique. Sous la direction de: Juliette Dumont, Anaïs Fléchet et Mônica Pimenta Velloso
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"O cinema e as ditaduras militares – contexto, memórias e representações audiovisuais" foi organizado por Eduardo Morettin e por Marcos Napolitano e publicado pela editora Intermeios. O livro reúne os resultados de três anos de pesquisa... more
"O cinema e as ditaduras militares – contexto, memórias e representações audiovisuais" foi organizado por Eduardo Morettin e por Marcos Napolitano e publicado pela editora Intermeios. O livro reúne os resultados de três anos de pesquisa do projeto Cinema e história no Brasil: estratégias discursivas do documentário na construção de uma memória sobre o regime militar, apoiado pelo CNPq por meio do Edital Universal 14/2013. O projeto editorial, que é fruto também das atividades do grupo de pesquisa CNPq "História e Audiovisual", traz textos de Eduardo Morettin, Ignacio Del Valle Dávila, Margarida Adamatti, Marcos Napolitano, Fernando Seliprandy, Mônica Almeida Kornis, Rosane Kaminski, Cristiane Freitas Gutfreind, Reinaldo Cardenuto, Carolina Amaral de Aguiar e Ana Laura Lusnich.
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O capítulo propõe, de saída, uma cartografia das representações da memória da ditadura no cinema brasileiro, desde a abertura política. Em seguida, a análise se concentra em 'Paula, a história de uma subversiva' (Francisco Ramalho Jr.,... more
O capítulo propõe, de saída, uma cartografia das representações da memória da ditadura no cinema brasileiro, desde a abertura política. Em seguida, a análise se concentra em 'Paula, a história de uma subversiva' (Francisco Ramalho Jr., 1979), filme pioneiro dessas representações da memória.