| Popis: |
This article discusses the historical resignifications in the film “Bacurau” (2019). Thus, critical-theoretical concepts such as representation, based on Hall (2006) and Chartier (2002) in the context of Cultural Studies and Cultural History, as well as ideas of power and distinction in Bourdieu (1989), are used, in order to understand the agency and spatial significations in the diegesis. Furthermore, the filmic language is taken as a locus of positioning that starts from the authors and the world that surrounds them, in addition to those who receive the work; the moving-images that are approached as readable texts, as writing in images. In the end, it is understood that the artistic work brings elements that engender anti-colonial narratives to socially and historically subaltern people. |
