Year: 2026
Type: article
Abstract: ABSTRACT This article examines Cacá Diegues's Quilombo (1984) through Robert Rosenstone's concept of the innovative historical film, focusing on the film's reworking of Palmares through music, ritual, performance and allegory. While Rosenstone provides a productive framework for understanding its cinematic engagement with the past, the article argues that Black Brazilian thought complicates this perspective. In dialogue with Beatriz Nascimento and Abdias do Nascimento, it explores the quilombo as an experience of historical continuity connecting body, territory, memory and political possibility. Quilombo thus not only exemplifies Rosenstone's category but also exposes its interpretative limits.
DOI: 10.1111/blar.70133
Author: Rafael Garcia Madalen Eiras
Institution: Universidade Federal Fluminense
Language: English
Topic: Cinema History and Criticism
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: hybrid
Estimated APC paid: $3,430
OpenAlex ID: W7225088856