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Master's Dissertation
Full name
Miguel Antunes Ramos
Knowledge Area
Date of Defense
São Paulo, 2021
Xavier, Ismail Norberto (President)
Brasil, André Guimarães
Mesquita, Cláudia Cardoso
Title in Portuguese
A Flecha e a Farda: Legibilidade, violência e sobrevivência em 'Arara'
Keywords in Portuguese
Comissão da Verdade
ditadura militar
Guarda Rural Indígena
questão indígena
Abstract in Portuguese
Em 2012, durante as investigações da Comissão Nacional da Verdade foi encontrado no Museu do Índio um DVD com a recente digitalização de um conjunto de rolos de película filmados em 1970 e intitulados 'Arara'. Se tratava da cerimônia de formatura da primeira e única turma da Guarda Rural Indígena (Grin), em fevereiro de 1970, em um batalhão policial em Belo Horizonte. Nossa pesquisa se debruça sobre essas imagens, buscando, primeiro, refletir sobre esse reaparecimento (reemergência, sobrevivência), depois, sobre o que foi a Grin, suas contradições e campos de força. Posteriormente, nos dedicamos a compreender o autor das imagens, o fotógrafo Jesco Von Puttkamer, para então nos dedicarmos em um longo mergulho de análise propriamente dita das imagens. Fazemos uma análise plano a plano dos 26 minutos de película, buscando ler sob o acetato envelhecido a violência e o recalque dos militares, a forma como Jesco registrou e estetizou o acontecido, e a forma como os indígenas encenaram, lidaram e resistiram a performar em si a imagem do outro que os militares queriam ver desfilada.
Title in English
The Arrow and the Uniform: image, legibility and survival in 'Arara'
Keywords in English
indigenous group
military dictatorship
National Truth Comission
Rural Indigenous Guard
Abstract in English
In 2012, during the investigations of the National Truth Commission, a DVD with a recent digitization of a set of film rolls shot in 1970 and entitled 'Arara' was found at the Indigenous Museum in Rio de Janeiro. The film had survived along 40 years untouched and, when we examined its content, it was shown that it brought the images of the graduation ceremony of the first and only group of the so called Indigenous Rural Guard (GRIN), which took place in February 1970, in a police battalion in Belo Horizonte. Our research focuses on these images, seeking, first, to evaluate the effects of the reappearance of this material that could reveal precious data related to the creation of that Guard by a federal law. Subsequently, we focus on the trajectory of the photographer Jesco Von Puttkamer, the man who documented that ceremony producing the material that became the central object of our analysis. A shot by shot close reading of the 26 minutes film, trying to read under the aged acetate the violence and repression of the military as expressed by the way Jesco recorded and aestheticized the ceremony. In our reading of the images we devoted special attention to the way the natives staged, dealt with and resisted performing in their own bodies and faces that image of disciplined soldiers that the military wanted to see in that parade.
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