Scripta 9_2_link_final.pdf - Uniandrade

that his brother is alive in the coffin, Dudu shoots towards it. Also, to the
sound of Prokofiev, the spectator sees then a thread of blood running
through an invisible crack in the coffin.
From there, the camera moves through the unorganized architectural
compound of the shanty town, where we see a waving flag of a popular
soccer team. In voice-over the spectator is told: “The Community of Maré
Radio Station now closes its daily activities”. The image of a solitary rooster,
who will probably announce brighter mornings, is also brought to the screen,
associated to the voice-over.
And so ends this story of another Romeo and another Juliet, or
Lucia Murat‘s Romeo and Juliet. I have not attempted to build a critical study
of the film. I have just argued that intersemiotic translation of canonical
works of art, that is, “performances of mass media which remain excluded
from the universities and museums, ‘uncapable’ of reading and looking at
the high brow cultures because they ignore the history of knowledge and
styles” (CANCLINI, 2008, p. 205) can help in the education of today’s socalled
plain individual. After all, as Silviano Santiago reminds us, in a peripheral
country such as Brazil, it will not be through the painful exercise of a mere
teaching of basic reading and writing skills that the excluded illiterate
individual will assimilate information and use it in the understanding of
society and the world where he/she lives (SANTIAGO, 2004, p.129).
Translation reaches the public through the cinema, television, comic
strips, cartoons, books not as another model, but as a producer of instability
which speaks for itself, is unfaithful, and does not submit itself to the ‘essence’
of an origin. It sets its own logic. And through this very logic it offers a
chance for democratization of the arts, bringing the outside world closer
to the contemporary individual, in a country where a huge mass of culturally
excluded people do not have access to the live performances or to texts
published in a foreign language.
REFERENCES
CANCLINI, Néstor Garcia. Culturas híbridas. Trad. Heloísa Pezza Cintrão; Ana Regina
Lessa. 4ª. ed. São Paulo: EDUNESP, 2008.
Scripta Uniandrade, v. 9, n. 2, jul.-dez. 2011 125