BARRAVENTO FİLMİNDEKİ ANLAM KARMAŞASI VE FARKLI YAKLAŞIMLAR

Yıl 2018, Cilt: 9 Sayı: 1, 7 - 41, 11.05.2018

Dilek Önder

https://doi.org/10.32001/sinecine.422053

Öz

Glauber Rocha’nın yönettiği ve 1962 yılında gösterime girmiş Barravento,film endüstrisinde farkındalık yaratma hareketi olan Cinema Novo’nun önemli örneklerinden biridir. Batı dünyasının ilkel insan için hissettiği nostaljik merakı karşılayan ve teknolojinin sunduğu imkanlar sayesinde sözde uygar olmayan insanın sefaleti ve çektiği zorlukları gizleyen Hollywood tarzı Brezilya filmlerinin aksine, devrim niteliğindeki Marksist yaklaşımı ile Rocha, filminde Bahia kıyılarında yaşayan balıkçıların açlık ve sefaletini yansıtmaya çalışır; ancak, Rocha’nın Candomblé’yi hem bir engel hem de balıkçı toplumun en önemli kültürel değeri olarak sunmuş olması filmde tutarsızlıklara yol açmıştır. Candomblé, Afrika Yoruba geleneklerinin yanı sıra Katolik ve Amerikan yerel geleneklerinin karşılıklı etkileşiminin sonucu olarak meydana gelmiş karma bir dini gelenektir ve inananları üzerinde büyük gücü ve etkisi vardır. Barravento’da bu din, balıkçı toplumun kaderini ve geleceğini belirleyen bir kültürel bilinci temsil eder. Bir yanda Marksist söylem ile Rocha, Candomblé’yi balıkçıları ger-çek problemleri ile yüzleşmekten uzaklaştıran bir afyon olarak yerer, bir diğer yanda ise Candomblé’ye büyük bir saygı ve itibar gösterir. Sonuç olarak, Barravento bize Candomblé hakkında çelişkili iki görüş sunar ki, bu da filmin yorumlanmasında anlam karmaşasına yol açar. Bu makale yönetmen Glauber Rocha ile ilk senaryoyu yazan Luiz Paulino Dos Santos’un çelişen bakış açılarını irdeler ve onların estetik hedeflerini “Estetik Olarak Açlık” ve “Estetik Olarak Din” alt başlıkları ile ele alır.

Anahtar Kelimeler

Exú, Malandro, Cinema Novo, Brezilya Sineması, Afrika Asıllı Brezil- ya kültürü, Afrika folkloru, Cinema Novo

AMBIGUITIES AND DOUBLE VOICES IN BARRAVENTO

Öz

Barravento was directed by Glauber Rocha in Brazil in 1962. It constitutes a very significant example of Cinema Novo, an awareness-raising movement in the film industry. It presents a truthful account of cavalla fishermen living on the coast of Bahia. In Barravento, Rocha has tried to convey the real face of Brazilian impoverishment, which formerly was veiled behind the technological facilities in Hollywood-like Brazilian productions. In contrast to these Hollywood-like movies that satisfy the western world’s nostalgia for primitivism and veil the wretchedness of so-called “uncivilized” men, Rocha depicts the sufferings and hunger of the cavalla fishermen while creating a revolutionary message. How-ever, the way he conveys his message leads to controversy, since he presentsCandomblé as both an impediment and a significant cultural value in the cavalla fishing community. Candomblé is an integrated religious tradition that comes from interaction with African Yoruba traditions, Roman Catholicism, and indigenous American traditions. It exerts considerable power and influence over its believers. In Barravento, Candomblé provides the cultural wisdom that de-termines the fate and future of the fishermen. Through his Marxist discourse, Rocha criticizes religion as a drug that discourages the fishermen from facing their real problems. At the same time, he presents Candomblé with respect and dignity. As a result, Barravento offers two contradictory perspectives about Candomblé, producing ambiguities and the coexistence of double voices in the film. This paper deals with the contradicting perspectives of Glauber Rocha and the original scriptwriter, Luiz Paulino Dos Santos, and discusses their aesthetic objectives under the subtitles “Hunger as Aesthetic” and “Religion as Aesthetic”.

Anahtar Kelimeler

Brazilian Cinema, Exú, Malandro, African Brazilian culture, African folklore, Cinema Novo

Kaynakça

• Akande, H. (2016). Illuminating the Blackness: Blacks and African Muslims in Brazil. London: Rabaah Publishers.
• Alonso, M. (2014). Development of Yoruba Candomble Communities in Salvador, Bahia 1835-1986. New York: Palgrave Macmillan.
• Bastide, R. (1978). The African Religions of Brazil. Baltimore: Johns Hopkins University Press.
• Bhabha, H. (2004). Location of Culture. New York: Routledge Classics.
• Bruce, G. (1995). Alma Brasilerira: Music in the Films of Glauber Rocha. In R. Johnson and R. Stam (Ed.), Brazilian Cinema (3rd Edition) (pp. 290 - 305). New York: Colombia University Press.
• Bueno, E. P., Caesar, T. (1998). Imagination Beyond Nation: Latin American Popular Culture. University of Pittsburgh Press.
• Fanon, F. (1963). The Wretched of the Earth. New York: Grove Press. Gates, H. L. (1988). The Signifying Monkey. New York: Oxford University Press.
• Hart, S. M. (2004). A companion to Latin American Film. Woodbridge: Tamesis.
• Hurston, Z. N. (2008). Mules and Men. New York: Harper Perennial.
• Imhotep, Asar. (2012, January). Understanding Ase and Its Relation to Esu Among the Yoruba and Ase.t in Ancient Egypt. The MOCHA-Versity Institute of Philosophy and Research, Part I. Retrieved from http:/www.asarimhotep.com/ documentdownloads/originsoftheconceptofashe.pdf.
• Johnson, P. C. (2002). Secrets, Gossip, and Gods: The Transformation of Brazilian Candomblé. New York: Oxford University Press.
• Johnson, R. (1984). Brazilian Cinema Novo. Bulletin of Latin Research, Vol. 3, No. 2, pp. 95-96. Retrieved from Jstor.
• Levine, L. W. (2007). Black Culture and Black Consciousness: Afro- American Folk Thought From Slavery to Freedom (30th Anniversary Ed.). New York: Oxford University Press.
• Mitchell, M. G. (2006). Crucial Issues in Caribbean Religions. New York: Peter Lang.
• Murrell, N. S. (2010). Afro-Caribbean Religions: An Introduction to Their Historical, Cultural, and Sacred Traditions. Philadelphia: Temple University Press.
• Nunes, R. P. A. (2009). O Barravento de Luiz Paulino dos Santos (The Barravento of Luiz Paulino dos Santos). Revista Brasileira de História das Religiões ANPUH, Ano II, no. 5. Retrieved from http:/www.dhi. uem.br/gtreligiao/pdf4/texto%206%20raquel.pdf.
• Pontecorvo, G. (Director). (1967). The Battle of Algiers [Motion Picture]. Algeria, Italy: Rialto pictures.
• Pratt, M. L. (2008). Imperial Eyes: Travel Writing and Ttransculturation (2nd Edition). London: Routledge.
• Rocha, G. (Director). (1962). Barravento (The Turning Wind) [Motion Picture]. Brasil: Iglu Filmes.
• Rocha, G. (1965). The Aesthetics of Hunger (Trans. B. Hollyman, R. Johnson). R. Johnson & R. Stam (Ed.), Brazilian Cinema (3rd Edition) (pp. 68 - 71). New York: Colombia University Press.
• Sampaio, A. (Director). (2008). Estafeta - Luiz Paulino dos Santos [Documentary]. Brasil: Mundial.
• Sansi, R. (2007). Fetishes & Monuments: Afro-Brazilian Art and Culture in the 20th Century. New York: Berghahn Books.
• Sommer, D. (1993). Resisting the Heat: Menchu, Morrison and Incompetent Readers. A. Kaplan (Ed.) Cultures of United States Imperialism (pp. 407-432). Durham: Duke University Press.
• Stam, R. (2004). Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (2nd Edition). Durham and London: Duke University Press.