O ícone e o palhaço ou Quando Mazzaropi encena Lampião

The massacre, in 1938, of the cangaceiros’ gang commanded by Virgulino Ferreira, better known by his nickname “Lampiào”, has remained in the memory of Brazilian people. It no only inspired literary works, but also films produced in the country. The representation of the famous bandit was constantly...

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Main Author: Cristina Duarte-Simoes
Format: Article
Language:Spanish
Published: Presses universitaires du Midi 2012-06-01
Series:Caravelle
Subjects:
Online Access:https://journals.openedition.org/caravelle/1169
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author Cristina Duarte-Simoes
author_facet Cristina Duarte-Simoes
author_sort Cristina Duarte-Simoes
collection DOAJ
description The massacre, in 1938, of the cangaceiros’ gang commanded by Virgulino Ferreira, better known by his nickname “Lampiào”, has remained in the memory of Brazilian people. It no only inspired literary works, but also films produced in the country. The representation of the famous bandit was constantly present within Brazilian cinematography, since the creation of O Cangaceiro (Lima Barreto, 1953, production Vera Cruz), which gave birth to the gender known as “film of the Nordeste’s banditry”. In the sixties, the Cinema Novo brought worldwide fame to it, and this continues to be the case today. In a very different register from the one usually proposed by Brazilian cinema, O Lamparina –conceived and played by Amácio Mazzaropi– breaks off with the tragic or dramatic tone of prior productions, proposing a cangaceiro character integrated in an ironic and comic context, unused till then.
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spelling doaj-art-e6223727045149f594b45e1bd8d3e1502025-01-09T16:14:34ZspaPresses universitaires du MidiCaravelle1147-67532272-98282012-06-01989311110.4000/caravelle.1169O ícone e o palhaço ou Quando Mazzaropi encena LampiãoCristina Duarte-SimoesThe massacre, in 1938, of the cangaceiros’ gang commanded by Virgulino Ferreira, better known by his nickname “Lampiào”, has remained in the memory of Brazilian people. It no only inspired literary works, but also films produced in the country. The representation of the famous bandit was constantly present within Brazilian cinematography, since the creation of O Cangaceiro (Lima Barreto, 1953, production Vera Cruz), which gave birth to the gender known as “film of the Nordeste’s banditry”. In the sixties, the Cinema Novo brought worldwide fame to it, and this continues to be the case today. In a very different register from the one usually proposed by Brazilian cinema, O Lamparina –conceived and played by Amácio Mazzaropi– breaks off with the tragic or dramatic tone of prior productions, proposing a cangaceiro character integrated in an ironic and comic context, unused till then.https://journals.openedition.org/caravelle/1169Brazilian cinemaLampiàoCangaçaoAmácio MazzaropiLamparina
spellingShingle Cristina Duarte-Simoes
O ícone e o palhaço ou Quando Mazzaropi encena Lampião
Caravelle
Brazilian cinema
Lampiào
Cangaçao
Amácio Mazzaropi
Lamparina
title O ícone e o palhaço ou Quando Mazzaropi encena Lampião
title_full O ícone e o palhaço ou Quando Mazzaropi encena Lampião
title_fullStr O ícone e o palhaço ou Quando Mazzaropi encena Lampião
title_full_unstemmed O ícone e o palhaço ou Quando Mazzaropi encena Lampião
title_short O ícone e o palhaço ou Quando Mazzaropi encena Lampião
title_sort o icone e o palhaco ou quando mazzaropi encena lampiao
topic Brazilian cinema
Lampiào
Cangaçao
Amácio Mazzaropi
Lamparina
url https://journals.openedition.org/caravelle/1169
work_keys_str_mv AT cristinaduartesimoes oiconeeopalhacoouquandomazzaropiencenalampiao