Abstract
This paper intends to analyze the documentary film Fevereiros (Februaries), by Marcio Debellian, and its themes - such as the relationship singer Maria Bethania has with African-Brazilian and popular catholicism religiosities, with sacred and profane festivities, and with the Estação Primeira de Mangueira samba school - using as a starting point the critical debates about documentary cinema and Brazilian musical documentary film. Taking into account the issues involving filmic materiality, the present analysis intends to apprehend the invisible thread that the variety of sounds and music interweaves, in the musical documentary genre, with images and other resources available in the cinematic language.
Highlights
This paper intends to analyze the documentary film Fevereiros (Februaries), by Marcio Debellian, and its themes - such as the relationship singer Maria Bethania has with African-Brazilian and popular catholicism religiosities, with sacred and profane festivities, and with the Estação Primeira de Mangueira samba school - using as a starting point the critical debates about documentary cinema and Brazilian musical documentary film
Segundo ela: Em relação a esse movimento da produção de documentários musicais, acho que se deveria apostar mais nas músicas que sobrevivem à margem do mainstream, porque a gente vê que a maioria desses documentários aborda os festivais da Record, a Bossa Nova, o universo da MPB, entendendo a MPB como uma música mais elitizada e aceita no meio da crítica musical e presente na história oficial
Do ponto de vista temático e musical, Fevereiros, ao mesmo tempo em que apresenta a fé e aspectos do repertório de Maria Bethânia, permite passeios que visitam a formação da música popular brasileira e as conexões profundas do canto ritual com o samba e com o Carnaval, as transitividades entre fé e festa
Summary
This paper intends to analyze the documentary film Fevereiros (Februaries), by Marcio Debellian, and its themes - such as the relationship singer Maria Bethania has with African-Brazilian and popular catholicism religiosities, with sacred and profane festivities, and with the Estação Primeira de Mangueira samba school - using as a starting point the critical debates about documentary cinema and Brazilian musical documentary film.
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