O marginal e o grotesco no cinema brasileiro: uma análise do Filme “ o bandido da luz vermelha” (1968) de Rogério Sganzerla

Abstract

This work aims to analyze the film “The Red Light Bandit” (1968) by Rogério Sganzerla, highlighting the cinematographic movement “Marginal Cinema”, as a driver of some changes that occurred in cinematography during the period of the Brazilian dictatorial regime. It can be said that some of its representatives sought to show experimentation and consequently innovations in relation to Brazilian avant-garde cinema. Here he made a necessary explanation of the theoretical framework that sought a dialogue with some authors about the concepts of art, avant-garde, cinema, experimentalism, anthropophagy, modernism and metalanguage. Such concepts are of great importance to understand how the aesthetics of the grotesque and the marginal, the satirical and a kind of carnivalization of Brazil were used in the film, in question, to symbolize a country that was experiencing the confusion of its politics, the hypocrisy of its society and the problems and contradictions of its culture.