Abstracts

LITERATURA, CINEMA E AUTORIA DE MULHERES NO BRASIL DA DITADURA MILITAR 

Literature, Cinema, and Women’s Authorship in Brazil under the Military Dictatorship 

Dr. Renata Soares Junqueira 

UNESP - Universidade Estadual Paulista | São Paulo State University 

Mulheres atuaram intensa e sistematicamente na criação e na expansão do moderno cinema brasileiro, e não só como atrizes. Foram continuístas, roteiristas, diretoras e produtoras, mas os diversificados frutos do seu trabalho criativo têm sido até hoje apagados ou relegados a segundo plano pelo domínio do cinema feito por homens. Investigar e questionar as razões dessa invisibilidade é tarefa urgente. Para avaliar a qualidade do cinema brasileiro feito por mulheres durante a ditadura militar, estabelecemos um corpus constituído por sete longas-metragens de seis diretoras com produção significativa nas décadas de 1970 e 1980: Os homens que eu tive (1973), de Tereza Trautman; Marcados para viver (1976), de Maria do Rosário Nascimento e Silva; Feminino plural (1976), de Vera de Figueiredo; Mar de Rosas (1977) e Das tripas coração (1982), de Ana Carolina; Amor maldito (1984), de Adélia Sampaio, e Ariella (1980), dirigido por John Herbert e roteirizado por Cassandra Rios. 

Abstract: Women played a crucial and systematic role in the creation, and expansion of modern Brazilian cinema, and not just as actresses. They contributed as script supervisors, screenwriters, directors, and producers. However, the diverse outcomes of their creative work have largely been erased or relegated to the background by the male-dominated film industry. Investigating and challenging the reasons for this invisibility is an urgent task. To assess the quality of Brazilian cinema made by women during the military dictatorship, we established a corpus of seven feature films by six directors who made significant contributions in the 1970s and 1980s: Os homens que eu tive (1973) by Tereza Trautman, Marcados para viver (1976) by Maria do Rosário Nascimento e Silva, Feminino plural (1976) by Vera de Figueiredo, Mar de Rosas (1977) and Das tripas coração (1982) by Ana Carolina, Amor maldito (1984) by Adélia Sampaio, and Ariella (1980) directed by John Herbert with a screenplay by Cassandra Rios. 

A LITERATURE TO UNITE THE KNOTS OF THE PAST: POST-MEMORY AND TRAUMA IN THE SPIRIT OF MY PARENTS KEEPS RISING IN THE RAIN

Dr. Sergio Schargel

Literature is not a hermetic field; rather, it interacts symbiotically with other spheres, transcending disciplinary boundaries. In a region marked by authoritarianism, such as Latin America, literature itself will present and address the theme. This paper proposes, based on Patricio Pron's novel The Spirit of my Parents Keeps Rising in the Rain, a discussion on the uses of memory and post-memory to deal with the violence of the dictatorial period. Given the hypothesis that literature absorbs traits of this post-memory, it aims to contribute to the state of the art by highlighting how the author employs the detective genre to delve into the reconstruction of the past. Following this, it will also bring into the debate concepts such as post-memory, as defined by Marianne Hirsch, and theoretical texts by Robert Dahl and Vera Lúcia Follain de Figueiredo on authoritarianism and migrant narratives. It concludes that Pron's book offers authentic stories about people who fought against the Argentine military dictatorship; people who were (in)directly affected by this regime, even after it had ended—such as the narrator and Alberto Burdisso. Narratives that, through fiction, allow us to learn about, imagine, remember, and reflect on part of this past and its impacts nowadays.  

Keywords: Latin American literature; The Spirit of my Parents Keeps Rising in the Rain; authoritarianism; Latin American dictatorships.