Production of meaning and representation of the northeastern hinterland in the Cinema Novo triad

Abstract

The representation of the northeastern hinterland is interconnected with the search for a national identity. In the 1960s, Cinema Novo established images for the Northeast that resonate today. Thus, we aim to analyze the representation of the northeastern hinterland in the Trilogy of the Sertão - Deus e o Diabo na Terra do Sol (Glauber Rocha, 1964), Os Fuzis (Ruy Guerra, 1964) and Vidas Secas (Nelson Pereira dos Santos, 1963) - in order to observe how the space and the individual appear represented in the works cited. For that, we will have as a theoretical reference the concepts of Orlandi (2001) and Aumont (1993), Gaudreault and Jost (1999) and Alekan (1979), through a linguistic and semiotic analysis, with the objective of observing how speech and photography act in the production of meaning within the films studied.