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The representation of the Brazilian ...

The University of North Carolina at Chapel Hill.

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The representation of the Brazilian Indian in literature and cinema from Hans Staden to the indigenous media.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The representation of the Brazilian Indian in literature and cinema from Hans Staden to the indigenous media./
Author:	Prata, Monica Nadler.
Description:	248 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 9650.
Contained By:	Dissertation Abstracts International63-03A.
Subject:	Literature, Romance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3047055
ISBN:	9780493610276

The representation of the Brazilian Indian in literature and cinema from Hans Staden to the indigenous media.
Prata, Monica Nadler.

The representation of the Brazilian Indian in literature and cinema from Hans Staden to the indigenous media. - 248 p.

Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 9650.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2002.

The present work undertakes the representation of the Brazilian Indian in literature and cinema beginning with the travel narratives from the sixteenth century to the indigenous media in the late decades of the twentieth century. The image of the first inhabitants of Brazil carry contradictory meanings, varying from the most amicable to the most savage in the travel accounts: Duas Viagens by Hans Staden (1557); Viagem a terra do Brasil by Jean de Lery (1578), and in their adaptations to the cinema: Como era gostoso o meu frances (1972), by Nelson Pereira dos Santos and Hans Staden (1999), by Luis Alberto Pereira. The nineteenth century novel Iracema, lenda do Ceara (1865) by Jose de Alencar portrays the Indian as a symbol of national identity. One hundred years later, the Indian becomes an outcast in the short-story "Hoje, como amana, como depois" from Caminhos and descaminhos (1965) by Bernardo Elis; and in the films: Iracema, uma transamazonica (1974), by Jorge Bodansky and Orlando Senna, and India, a filha do sol (1981), by Fabio Barreto. Produced in the last decades of the twentieth century, the films---Raoni (1979) by Jean-Pierre Dutilleux and Luis Carlos Saldanha, and Video nas Aldeias (1989) by Vicent Carelli---present the self-representation of indigenous groups through the use video technologies. The manipulation and appropriation of their own images promotes the reflection of these communities in their distinctive insertion in the national context and, in the new perspective of relationships within the Brazilian state and society.

ISBN: 9780493610276Subjects--Topical Terms:

1019014
Literature, Romance.

The representation of the Brazilian Indian in literature and cinema from Hans Staden to the indigenous media.
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020 $a 9780493610276
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100 1 $a Prata, Monica Nadler. $3 2096879
245 1 4 $a The representation of the Brazilian Indian in literature and cinema from Hans Staden to the indigenous media.
300 $a 248 p.
500 $a Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 9650.
500 $a Adviser: Monica Rector.
502 $a Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2002.
520 $a The present work undertakes the representation of the Brazilian Indian in literature and cinema beginning with the travel narratives from the sixteenth century to the indigenous media in the late decades of the twentieth century. The image of the first inhabitants of Brazil carry contradictory meanings, varying from the most amicable to the most savage in the travel accounts: Duas Viagens by Hans Staden (1557); Viagem a terra do Brasil by Jean de Lery (1578), and in their adaptations to the cinema: Como era gostoso o meu frances (1972), by Nelson Pereira dos Santos and Hans Staden (1999), by Luis Alberto Pereira. The nineteenth century novel Iracema, lenda do Ceara (1865) by Jose de Alencar portrays the Indian as a symbol of national identity. One hundred years later, the Indian becomes an outcast in the short-story "Hoje, como amana, como depois" from Caminhos and descaminhos (1965) by Bernardo Elis; and in the films: Iracema, uma transamazonica (1974), by Jorge Bodansky and Orlando Senna, and India, a filha do sol (1981), by Fabio Barreto. Produced in the last decades of the twentieth century, the films---Raoni (1979) by Jean-Pierre Dutilleux and Luis Carlos Saldanha, and Video nas Aldeias (1989) by Vicent Carelli---present the self-representation of indigenous groups through the use video technologies. The manipulation and appropriation of their own images promotes the reflection of these communities in their distinctive insertion in the national context and, in the new perspective of relationships within the Brazilian state and society.
590 $a School code: 0153.
650 4 $a Literature, Romance. $3 1019014
650 4 $a Cinema. $3 854529
690 $a 0313
690 $a 0900
710 2 $a The University of North Carolina at Chapel Hill. $3 1017449
773 0 $t Dissertation Abstracts International $g 63-03A.
790 $a 0153
791 $a Ph.D.
792 $a 2002
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3047055