Name: ADRYELISSON DE SOUZA MADURO
Publication date: 09/10/2026
Examining board:
Name |
Role |
|---|---|
| ISABELA NASCIMENTO FRADE | Presidente |
| KLAUS BERG NIPPES BRAGANCA | Examinador Interno |
| ROBERTO CARLOS DA SILVA BORGES | Examinador Externo |
Summary: This dissertation investigates the relationships between racism, Black Brazilian cinema, dystopian narratives, and anti-racist discourse in contemporary Brazilian cinema. It starts from the understanding that racism is not expressed only through explicit discriminatory practices, but also through regimes of representation, forms of visibility, and imaginaries that organize Brazilian social experience. Cinema is therefore understood as an aesthetic, political, and symbolic field of dispute, capable of reproducing racial stereotypes, but also of producing counter-images, fabulations, and forms of Black self-representation. The research combines bibliographic review and film analysis, drawing on theoretical contributions on colonialism, structural racism, whiteness, representation, Black cinema, fabulation, Afrofuturism, and dystopia. The corpus consists of the films Branco Sai, Preto Fica (2014), directed by Adirley Queirós, Medida Provisória (2020), directed by Lázaro Ramos, and Marte Um (2022),
directed by Gabriel Martins. The analysis acknowledges the conceptual differences between these works: Branco Sai, Preto Fica is examined as a racial and peripheral dystopia with strong anti-racist force, although it is not classified as Black cinema in a strict sense due to its authorship; Marte Um is analyzed as contemporary Black Brazilian cinema centered on ordinary life, affection, and the right to dream, without being framed as a dystopian narrative; and Medida Provisória is taken as the point of convergence between Black authorship, Black protagonism, state dystopia, and the denunciation of Brazilian racism. The dissertation argues that dystopia, when crossed by racial issues, operates as a critical device for reading the present, making visible historical structures of violence, segregation, surveillance, and denial of the future. At the same time, the research demonstrates that anti-racist discourse in contemporary Black cinema can also emerge from memory, everyday life, fabulation, and theaffirmation of plural Black subjectivities.
