“O cinema que fala sua língua”: uma análise dos processos hegemônicos da globo no ponto de vista da memória

Abstract

Since its development, Brazilian cinema has been plagued by the image of films produced abroad. In this paper, we will address, in a non-chronological order, but in a way that contextualizes the history of cinema, how it is inserted in Brazil, the relationship of our population with memory, the forgetting of several productions from our past and how the Globo Group emerged from its formation in the print media to its insertion in the film market, expansion and sometimes controversial positions within our history. In tune with economic changes, there have been gradual and non-linear attempts to strengthen our audiovisual sector. Whether through incentive laws or by the introduction of large groups active in production and distribution. The greatest media reference we have in Brazil is the Globo Group, which stands out for its dominance that sometimes suppresses independent cinema. In addition, we will mention how this hegemony has been threatened by other companies that have been entering Brazil, creating the possibility of having, in fact, a so-called Cultural Industry. Other problems we face, in addition to the hegemonies that sustain predominantly foreign cinema and follow Globo's hierarchical line, are the lack of memory and preservation of audiovisual content, especially from the past, those films that in another era, even though they achieved great box office sales, sometimes competing with foreign films, are not remembered by the contemporary Brazilian population. In addition to our relationship with movie theaters and the physical preservation of films, especially from the time when they were made in silver nitrate film format, among other things that lead to the forgetfulness of this physical media by our population. The Globo dominance in contemporary times, it continues to be our greatest power, as we will see throughout the work, but even such a consolidated group had to adapt to new forms of cinema in the 2020s. As cinema goes through these changes, we observe an interest in rescuing it, something also addressed throughout the work. Companies, film clubs and film buffs have been paying attention to seek memories of what we once did and, in addition to studying, they are trying to rescue and preserve a physical collection so that this content, which is part of the development of Brazilian culture, doesn't continue to be forgotten.