A afrocentricidade do cinema negro em sergipe: primeiras cenas de Marcelo Roque Belarmino e Everlane Moraes.

Abstract

The objective of this thesis is to research the Afrocentricity of Black Cinema in Sergipe: early scenes by Marcelo Roque Belarmino and Everlane Moraes, through the Afrocentric perspective of Molefi Kete Asante. The work of Black intellectual Marcelo Roque Belarmino is analyzed, focusing on his trilogy As Aventuras de Seu Euclides – Parafusos (2007), Chegança (2009), and Lambe Sujo e Caboclinhos (2012). Similarly,

three films by Black intellectual Everlane Moraes are analyzed: Caixa D’Água Qui- Lombo é Esse? (2013), Aurora (2018), and Pattaki (2019). The argument we intend to

support in this thesis is that the filmography of both directors is Afrocentric. Thus, the films were studied based on three categories of Afrocentric epistemology: (1) Agency, where each central character in the film acts as a Social Agent capable of telling the story - their story; (2) Place [Afro-centered], essential for those who weave the narrative of their history and their people, enhancing certain formal elements of the African diaspora; and (3) Time, the presente time, which prioritizes a return to ancestral culture, bearing fruit in present actions, preserving and learning from the past. Above all, safeguarding African values, habits, and religion. In this perspective, the films were addressed from the viewpoint of filmic description and analysis, adopting an interdisciplinary approach that dialogues with various fields of knowledge: film theory, art, sociology, and the cinema-education relationship, based on Law No. 10.639/2003, which mandates the inclusion of “Afro-Brazilian and African History and Culture” in the official curriculum of public and private schools, as well as the National Curriculum Guidelines for Ethnic-Racial Relations in Basic Education. Consequently, we assign the films the status of studies on the aesthetic and cultural representation of Black individuals in Brazilian society and on their diaspora. We conclude that the artistic trajectories of these filmmakers, analyzed through their respective filmographies, are emancipatory in nature and in the conception and construction of Black cinema in Sergipe. Therefore, they are Afrocentric, as one can aligne them with the epistemology of Molefi Kete Asante.