Descrição
Arábia (2017) pode ser situado no âmbito de uma série de incursões cinematográficas aos substratos da realidade, tanto pelo prisma do documentário quanto pelos caminhos da ficção. À primeira vista, a obra parece responder às aparições históricas da figura do trabalhador no cinema brasileiro. Mas há uma região menos nítida de repercussões, com artistas que adaptaram as categorias do realismo a seus propósitos particulares. É o caso, por exemplo, de John Ford e John Huston. Neste artigo, olharemos para as imagens de Arábia no limiar dessas duas zonas de construção estética.||Araby (2017) can be considered one of many films that investigate reality. At first glance, it responds to the multiple historical appearances of workers in Brazilian cinema. However, there is a less definite zone of exchanges inhabited by artists who adapted the categories of realism for their particular purposes. This is the case of John Ford and John Huston, for example. In this paper, we analyze the images of Araby, placing them on the threshold between these two fields of aesthetic work.||Araby (2017) can be considered one of many films that investigate reality. At first glance, it responds to the multiple historical appearances of workers in Brazilian cinema. However, there is a less definite zone of exchanges inhabited by artists who adapted the categories of realism for their particular purposes. This is the case of John Ford and John Huston, for example. In this paper, we analyze the images of Araby, placing them on the threshold between these two fields of aesthetic work.
