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The various volumes coordinated by Pierre Nora to pursue a history of the places of memory in France have become a multidisciplinary theoretical reference for those who, like us, seek to reconstruct the memories with which the land of the Potiguara aborigines of Brazil is organized today. In the introduction to the voluminous work that he directed for eight years, Nora explained his epistemic understanding of the notion of “places of memory”, stressing that a “lieu de mémoire” is any significant entity that, material or immaterial in nature, through a human will or the wear and tear of time, has become a symbolic element of a community's memorial heritage. The French historian also added that, since memory is the fundamental structure of this generally lengthy process, it was convenient to understand it as a phenomenon of emotions and magic that only accommodates the facts that feed it. Strictly speaking, memory is always vague, and reminiscent, stirring both general impressions and fine symbolic details. Furthermore, memory is always vulnerable to transference, repressed and imagined memories, censorship, and all kinds of projections. (Nora, 1984). In this article, we try to understand that the places of memory are also almost always what comes to us, stays, and selects the past. The reserve where they live appears as a symbolic locus to which the Potiguara aborigines cling with all their strength to preserve what remains of their past.
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The land of the potiguara indians of Brazil: a social and political construction The space in which the potiguaras of Brazil live is, today as in the past, the result of a longterm process, many negotiations and well-managed refuges. Paradoxically, despite their recurrent discourse invoking the ancestry of their lands of origin, the Potiguara fight and continue to fight politically for the return to the spaces where their colonial refuge took place.
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José Manuel Simões
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Sinã, conhecido entre os seus parentes pelo nome de “Luz Lilás”, homem de um imenso metro e noventa, cacique, mandou reunir a sua comunidade na oca central, a maior, situada no ponto mais alto do cimo da falésia, feita de massaranduba e sucupira – as madeiras mais resistentes – entrelaçadas com cipós de fogo. Pintaram-lhe o longo rosto com traços firmes, a geometria dos signos direcionada ao céu e à terra, protetores das suas gentes. Dessa vez as linhas marcadas na face de “Luz Lilás” eram mais simétricas do que o habitual, as tintas extraídas das sementes de urucu […]
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Nessa noite decidiram hospedar-se num motel pois queriam acordar às 3.45 para ver o primeiro sol das Américas na Ponta de Seixas, João Pessoa, Paraíba. Subiram à torre do Nazareno às 4.45 e, quando já pensavam que as nuvens não iam deixar assistir ao nascer de mais um dia aprazível, eis que ele, o senhor rei dos dias, surge do mar. Enquanto os olhos brilhavam ao sol, lembrou-se que Chico César era dali perto, do interior da Paraíba, para as bandas de Campina Grande. Recordou que a primeira vez que tentou olhá-lo nos olhos percebeu que ele estava envolvido numa […]
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There can be no conclusive determining regarding true press freedom in Macau, and perhaps this statement can be applied elsewhere as well. Issues of self-censorship, partisanship, or cultural loyalty exist in cities and countries around the world, and most of the time there is simply no reliable measurement to determine their impact. The Special Administrative Region (SAR) of Macau is separate and distinct from mainland China, but that does not mean that it is entirely without question regarding its freedom of the press, ethical journalistic practices, and interference by non-authorized agencies at the three languages local newspapers.
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This dissertation examines the enduring influence of Walter Murch's seminal editing principles and techniques on contemporary film editors, highlighting how his ideas continue to shape the craft even among those who may not be directly aware of his work. Central to this study is an exploration of Murch's ""Rule of Six,"" which prioritizes emotion, story, rhythm, eye-trace, two-dimensional plane of the screen, and three-dimensional space of action in editing decisions. Additionally, the research delves into Murch's concepts of rhythm and pacing, as well as his emphasis on preserving the emotional impact of a scene. Through a series of in-depth interviews with working editors, this dissertation investigates the extent to which Murch's theoretical framework is manifested in modern editing practices. The study seeks to identify how contemporary editors incorporate these principles into their workflows, consciously or subconsciously, and how these techniques contribute to the narrative and emotional effectiveness of their films. By analyzing the practical decision-making processes of today's editors, this research aims to uncover the degree to which Murch's legacy endures in the film industry. The findings underscore the significant, yet often implicit, role that Murch's editing philosophy plays in shaping the aesthetic and emotional resonance of contemporary cinema. This dissertation thus provides a comprehensive understanding of the lasting impact of Walter Murch's contributions to the art and science of film editing
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