Análisis semiótico y discursivo de las películas Dios y el Diablo en la Tierra del Sol y Antonio das Mortes, de Glauber Rocha

The cineaste Glauber Rocha made two films that reflected social system that Brazil faced in 1960. Although the origins of the films were not similar, the aesthetic conceptions were different: the relations between the cangaço (revolutionary movement of northeastern Brazil), messianism and the character Antonio das Mortes were approached in different social and historical moments. The film Black God and white Devil, 1964, was integrated in the context of the aesthetics of hunger, and was a sign of the revolutionary instrument, avant-garde of a cinematic vision before the Brazilian military government. On the other hand, the film Antonio das Mortes, 1969, was born in the midst of the transformations unleashed by the Tropicália movement and the repression for expression freedom, imposed by the military dictatorship, through Institutional Act n.5. In this thesis each film was understood as a semiosphere that was formed by its distinct semiotics. The semiotic research of both films was mainly based on the study of theorist Yuri Lotman, although the theories of Michael Foucault, Umberto Eco, Mijaíl Bajtín, among others, had also been integrated. The thesis made a semiotic analysis of the films with the intention to understand the historical hemispheric and the message of Glauber Rocha pass through these movies.