ART: ANIKI-BÓBÓ AND SCIUSCIÀ: THE TESSITURE OF THE NULLIFICATION REPRESENTED IN IMAGES

Abstract

This study assumes that cinematographic images can function as repositories of historical information about the nullification processes. In this perspective, this research uses two aspects: the ways in which cinema represented the forms of subjection in the first half of the 20th century and the way in which, in view of the different designs of social transgressions, the images denounced, albeit implicitly, the intricacies of disciplinary power. Empirically, I use two European films from the 1940s, Aniki-bóbó (1942), by the Portuguese Manoel de Oliveira and Sciuscià (1946), by the Italian director and actor Vittorio De Sicca. From a conceptual point of view, I dialogue with the philosophical and historiographical production of French Michel Foucault. The films, placed in converging and discontinuous situations, end up revealing that, with each new historical condition, knowledge about the discipline and procedures of subjection change.