Utopic Cannibalism in Carlos Fausto, Leonardo Sette, and Takumã Kuikuro’s As Hiper Mulheres
- 241 Downloads
Shamash’s chapter studies indigenous film productions in Brazil, particularly a documentary that portrays an all-women festival of the Kuikuro tribe, raising issues of cultural and environmental preservation. Shamash meditates on the utopian potential of the film medium as a performance of self-determination while tracing a genealogy of the decolonization of film history from Latin American Third Cinema to an international Indigenous Fourth Cinema. During this process, the author alludes to Kuikuro mythologies as they are represented through sound and image, along the notion of cannibalism as a subversive trope that empowers women as agents capable of leading the way in their communities.
KeywordsIndigenous People Indigenous Population Indigenous Community Indigenous Woman Utopic Vision
- Alves Babio, Luciana. 2011. The Rondon Commission and the Representation of the Paresi Identity: A Dialogue by Means of Photographs. Revista Eletrônica de Comunicação, Informação & Inovação em Saúde 5 (2): 27–43. http://webcache.googleusercontent.com/search?q=cache:J5Q9spkG2JQJ:www.reciis.icict.fiocruz.br/index.php/reciis/article/download/778/pdf_253+&cd=2&hl=en&ct=clnk&gl=ca. Accessed 8 Mar 2013.
- Andrade, Oswald de. 1928. Anthropophagite Manifesto. Originally published in Revista de Antropofagia 1 (May). Trans. Adriano Pedrosa and Veronica Cordeiro. 391.org. http://www.391.org/manifestos/1928anthropophagite.htm. Accessed 22 Sept 2015.
- Barclay, Barry. 2003. Celebrating Fourth Cinema. Illusions Magazine 35 (Winter): 7–11.Google Scholar
- Columpar, Corinn. 2010. Unsettling Sights: The Fourth World on Film. Carbondale: Southern Illinois University Press.Google Scholar
- Freyre, Gilberto.  1971. The Masters and the Slaves [Casa-grande & Senzala]: A Study in the Development of Brazilian Civilization. Trans. Samuel Putnam. New York: Knopf.Google Scholar
- Madeira, Luis. 2005. Cannibal Modernities: Postcoloniality and the Avant-Garde in Caribbean and Brazilian Literature. Charlottesville: University of Virginia Press.Google Scholar
- Nagib, Lúcia. 2007. Brazil on Screen: Cinema Novo, New Cinema, Utopia. New York: Tauris.Google Scholar
- Nolen, Stephanie. 2015. Brazil’s Colour Bind: How One of the World’s Most Diverse Countries Is Just Starting to Talk about Race. The Globe and Mail, July 31. http://www.theglobeandmail.com/news/world/brazils-colour-bind/article25779474/. Accessed 3 Aug 2015.
- Panoho, Rangihiroa. 2003. Kei hea te ngakau Maori? Locating the Heart, Shona Rapira—Davies and Reading Maori Art. He Pukenga Kōrero: A Journal of Māori Studies 7 (2): 25–34.Google Scholar
- Pérez, María Cunillera. 2010. Metáforas de la voracidad en el arte del siglo XX. PhD dissertation, Universidad Complutense de Madrid. http://eprints.ucm.es/10393/1/T31756.pdf. Accessed 15 Dec 2015.
- Pines, Jim, and Paul Willemen, eds. 1989. Questions of Third Cinema. London: BFI.Google Scholar
- Rony, Fatimah Tobing. 1996. The Third Eye: Race, Cinema, and the Ethnographic Spectacle. Durham: Duke University Press.Google Scholar
- Santos, Alessandra. 2014. Review of Itão Kuêgü—As Hiper Mulheres—The Hyperwomen. Directed by Takumã Kuikuro, Carlos Fausto, and Leonardo Sette. E-misférica 11 (1). http://hemisphericinstitute.org/hemi/en/emisferica-111-decolonial-gesture/santos. Accessed 15 Sept 2015.
- Schiwy, Freya. 2009. Indianizing Film: Decolonization, the Andes, and the Question of Technology. New Brunswick: Rutgers University Press.Google Scholar
- Stam, Robert. 1997. Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema. Durham: Duke University Press.Google Scholar
- Como Era Gostoso o Meu Francês. 1971. Directed by Nelson Pereira dos Santos. Condor Films. DVD.Google Scholar
- Hans Staden. 1999. Directed by Luís Alberto Pereira. Instituto Português da Arte Cinematográfica e Audiovisual (IPACA). Film.Google Scholar
- As Hiper Mulheres. 2011. Directed by Carlos Fausto, Leonardo Sette, and Takumã Kuikuro. Vídeo nas Aldeias. DVD.Google Scholar
- Iracema: Uma Transa Amazônica. 1975. Directed by Jorge Bordanzky and Orlando Senna. Stop Film. Film.Google Scholar
- Macunaíma. 1969. Directed by Joaquim Pedro de Andrade. Condor Films. Film.Google Scholar