Da sala escura à cena histórica: Ferreira Gullar e o Cinema Novo

Abstract

This article examines Ferreira Gullar’s relationship with cinema through three interconnected movements. First, it analyzes the presence of the word “cinema” in Gullar’s poetry, where it appears predominantly as an element of everyday urban life, without developing into a reflection on cinematic language. It then traces the shift from the poetic plane to that of historical practice, in the context of the poet’s political engagement with the Centro Popular de Cultura (CPC), with particular attention to the poem João Boa-Morte and to the production of Cabra marcado para morrer, directed by Eduardo Coutinho. Finally, it investigates the complex relationship — both collaborative and conflictive — between Gullar and Glauber Rocha, culminating in a reading of the poem “Glauber morto”, in which death is confronted as a radical interruption, without symbolic compensation. The article argues that, although cinema does not occupy a central place in Gullar’s poetics as an artistic form, it plays a decisive role as a historical, political, and affective experience throughout his intellectual trajectory.