Confrontations with the national flag by the contemporary Brazilian cinema

Abstract

During the 2010s, of all the Brazilian national symbols - among them the national anthem and the canary shirt of the Brazilian national football team - the green and yellow flag was possibly the one that suffered the most oscillations in terms of its relationship with the idea of national identity. The political turmoil that affected the country particularly after the so-called Journeys of June in 2013 caused this object to be re-signified, and it gradually became more associated with conservative forces. During this period, Brazilian independent cinema catalyzed the discomfort of critical thinking with the use and appropriation of this symbol which, like many other flags and anthems, were created to forge national identities during the transition from monarchical to republican governments. Using four films- Branco sai preto fica (2014), de Adirley Queirós, No coração do mundo (2019), de Maurílio Martins e Gabriel Martins, Divino amor (2019), de Gabriel Mascaro e Martírio (2016), de Vincent Carelli, Ernesto de Carvalho e Tita - this article intends to observe how, when placed as a background image, almost imperceptible, but always noticed, the figuration of the Brazilian flag produces evidence against itself, in the sense of appearing on the scene as a direct confrontation with its official discourse.