Que bom te ver viva (1989): memórias da ditadura militar no cinema brasileiro

Abstract

There are several ways to portray the past, such as the study of memories and representations of the history of the Military Dictatorship (1964-1985). The present work aims to analyze the representations and memories of women in dramatic films in a documentary Que Bom Te Ver Viva, produced in 1989, by Brazilian filmmaker Lúcia Murat1. Analyzing memories to construct the present time acquires even more relevance, especially after 60 years of the coup and the growth of the authoritarian right in recent years, a phenomenon that ended up strengthening four years of a government militarized, in which those nostalgic for the period were present. The problem of this research is the following: What form does film production take? comprises the approach to sensitive topics relating to the opposition of the military regime, the armed resistance and the cultural context in which it was produced, during the period of redemocratization of the country, seeking to portray the story of what would have led to a coup in 1960s, and more than that, what was the nature of the regime established in that moment and its transformations in the following years? The Military Dictatorship in Brazil began in a context of economic crisis and soon took on an oppressive and violent phase. Features that remained until its end, two decades later. Tensions in politics began even before the coup, when the until then vice-president of the republic João Goulart assumed the presidency after resigning by Jânio Quadros in 1961.2 Goulart had political and economic reform projects, which were not successful due to lack of parliamentary support and because they were considered as a communist threat. In a traditional analysis, the coup in 1964 generated a political, economic, social and cultural process.