“Luz, câmera, ação”: uma análise da representação do cangaceiro e do cangaço no cinema da retomada (1995-2002), através dos personagens Severino de Aracaju e seus “cabras” no filme “O Auto da Compadecida” (2000).

Abstract

The present work aims to analyze the representation of the cangaceiro and the cangaço during the cycle of the resumption of Brazilian cinema (1995-2002), based on the group led by Severino de Aracaju in the movie O Auto da Compadecida (2000). Therefore, we discuss the strategies created by the director Guel Arraes to elaborate these subjects and their spaces of performance, considering, as Barros (2012) puts it, the internal and external aspects that interfere in this process of constructing the movie narrative. Thus, we analyze images extracted from scenes that involve these subjects in the plot, captured through the technique of printscreen and analyzed following the theoretical bias of Menezes (1996), as well as interviews, reports and testimonials of filmmakers to Nagib's book (2002), using Foucault (1996) and Sosa (2006) as theoretical suport, as well as films and literary works that also contributed to the elaboration of the symbolic image of these subjects in Guel Arraes' film.