Evangelicals in the Brazilian contemporary visual production: analysis of the polemics surrounding the film Holy Tremor
DOI:
https://doi.org/10.36517/rcs.v50i2.40276Keywords:
Documentary, Image of the People, Representation, SubalternityAbstract
This article proposes an analysis of the polemics around Holy Tremor (2017), film by Bárbara Wagner and Benjamin de Burca, aiming at locating it, at first, in the tradition of representation of poor and peripheric communities in Brazilian art. In a second moment, it will also relate the work to a larger series of polemics generated by the representation of evangelical groups in the Brazilian contemporary visual production. It suggests that reception is a key element in the production of meaning and consequently, in the controversy generated by the film.
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References
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