Abstract
The purpose of this article is to develop a reflection on the competing aspects in understanding of the image of positive affirmation of African descendants as an Iberian-Asian-Afro-Amerindian minority. I observed in Chanchada an attempt to demean the image of the African, Amerindian, Asian, and Iberian people by representing them with stereotypes of inferiority. This was done in an industry cinema on behalf of cultural colonialism for the benefit of the myth of superiority of the white Euro-Caucasians. In contrast to Chanchada, Cinema Novo (the new cinema movement), with a Marxist influence, was a critique of American imperialism with an authorial aesthetic that valued popular culture. This pointed to a cinematic syntax that found in the black man its aesthetic referent, in that it represented the proletarian traits and their development and, in the case of the white man, the bourgeois expression and its ensuing power. I show in the article that Black Cinema was born from the Glauber´s realization, also a basic element of Cinema Novo, which made blackness a central focus. It is in Black Cinema that the African descendent redeems his position as a historical subject, as a filmmaker. I demonstrated that there is a Lusophone identity configured in the condition of victim of Euro-colonization, pointing to the Lusophony of democratic horizontality that is established in a struggle of ontological image against the verticality of the imagery hegemony of the Euro-hetero-macho-authoritarian character, determined by the Eurocentric force of Euro-heteronormativity. This research concluded that there is a pedagogical dimension of Black Cinema in which minorities, in a perspective of inclusive contemporaneity, construct the place of speech, showing society the overcoming of excluding anachronism and teaching how they are and how they should be treated.
Iberian-Asian-Afro-Amerindian; Euro-hetero-male-authoritarian; Pedagogical dimension of Black Cinema; Image of horizontality; Image of verticality