GRACILIANO HERÓI: AS CONTINGÊNCIAS DO HUMANO EM CONTEXTO DE MATERIALIDADES HISTÓRICAS ADVERSAS
By appropriating Graciliano Ramos’s text Memórias do cárcere (1953),film director Nelson Pereira dos Santos makes use of a filmic transcreation (1983) tocontextualize and reconfigure (both socially and culturally) the status of the narrator asmemoirist in literature. As he blurs any attempt at a clear-cut hierarchization of thetextualities involved, the cinematographic author promotes the resonance of twodifferent periods in 20th century Brazilian history: Vargas’s dictatorship (1930-1945),as lived by Graciliano Ramos himself, and that of the military régime post-1964. Aninterpretation of both works, considered here as being founded upon the transversaltheme of the need to reformulate the past, a result of the condensation of historical timein the present which gives shape to both narratives, may be especially meaningful in thesense that it bears witness to art’s capability to shed light upon human contingence inhistorically dark times.