BARRAVENTO FİLMİNDEKİ ANLAM KARMAŞASI VE FARKLI YAKLAŞIMLAR

Year 2018, , 7 - 41, 11.05.2018

Dilek Önder

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

Abstract

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.

Keywords

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

AMBIGUITIES AND DOUBLE VOICES IN BARRAVENTO

Abstract

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”.

Keywords

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

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