Look inside the kaleidoscope: history and political-cultural Memory in Manhã Cinzenta, by Olney São Paulo

Abstract

In this present time, there is no way to dissociate art and politics, which take place at the same points in the texts: in form and / or content, or both. Manhã Cinzenta (1969), medium-length film by the filmmaker Olney São Paulo, is significant in relation to artistic and political engagements, being one of the most important films of the resistance against the civil-military dictatorship of 1964, for performing a reading and interpretation of the historical context at the time of its happening, being also a kind of metaphor of the life of the own filmmaker, appearing like a wound in its body shattered by the torture. We base our reading and analysis on the theoretical assumptions of Marc Ferro (1971, 1992) and Robert Rosenstone (2010) that films and film archives can make up for the absence of traditional official documents, discourse, being, therefore, in Derridian sense, supplementary for the historiographical construction, being able to be sources for the understanding of historical contexts and events.