Escrevivências em audiovisualidades: a potência das imagensnarrativas para a negritude

Abstract

This work is part of a collective body of academic research that questions the coloniality of being, power and knowledge (Quijano, 2005), because it employs an epistemicide of black and indigenous people, whose knowledge, histories and contributions to the construction of the Brazilian nation have been systematically delegitimized. In this sense, we have dialogued with authors who speak from the place of enunciation based on the experiences of Black, Afro-diasporic, Amerindian, Latin-American, that is, bodies that bear marks and produce knowledge, situated within the geopolitical location of the Global South (Santos, 2007). Thus, decoloniality is assumed as an unfinished academic, political and artistic project, that compels us to engage with reality in order to transform it (Costa, Maldonato-Torres e Grosfoguel, 2019). Brazilian Black Cinema is understood as part of the decolonial project, so far it is created from the embodied experiences of Black filmmakers, characterizing it as escrevivências [writing-living] in audiovisualities, through the ancestral technological apparatus of the quilombo-cinema. This thesis is dedicated to understanding the negotiations that spectators make when experiencing escrevivências in audiovisualities. The research reveals that the Brazilian Black Cinema produces new images-narratives of emancipatory negritude, thus vindicating the historically constructed images imposed on black people, by instead showing its beauty, its subjectivity, and restoring dignity to the black communities.