Akademik Veri Yönetim Sistemi
sinecine: Sinema Araştırmaları Dergisi, cilt.9, sa.1, ss.7-41, 2018 (TRDizin)
Barravento was directed by Glauber Rocha in Brazil in 1962. It constitutes a verysignificant example of Cinema Novo, an awareness-raising movement in thefilm industry. It presents a truthful account of cavalla fishermen living on thecoast of Bahia. In Barravento, Rocha has tried to convey the real face of Brazilianimpoverishment, which formerly was veiled behind the technological facilitiesin Hollywood-like Brazilian productions. In contrast to these Hollywood-likemovies that satisfy the western world’s nostalgia for primitivism and veil thewretchedness of so-called “uncivilized” men, Rocha depicts the sufferings andhunger of the cavalla fishermen while creating a revolutionary message. However,the way he conveys his message leads to controversy, since he presentsCandomblé as both an impediment and a significant cultural value in the cavallafishing community. Candomblé is an integrated religious tradition that comesfrom interaction with African Yoruba traditions, Roman Catholicism, and indigenousAmerican traditions. It exerts considerable power and influence overits believers. In Barravento, Candomblé provides the cultural wisdom that determinesthe fate and future of the fishermen. Through his Marxist discourse,Rocha criticizes religion as a drug that discourages the fishermen from facingtheir real problems. At the same time, he presents Candomblé with respect anddignity. As a result, Barravento offers two contradictory perspectives about Candomblé,producing ambiguities and the coexistence of double voices in the film.This paper deals with the contradicting perspectives of Glauber Rocha and theoriginal scriptwriter, Luiz Paulino Dos Santos, and discusses their aesthetic objectivesunder the subtitles “Hunger as Aesthetic” and “Religion as Aesthetic”.