Território ontológico xamânico na dimensão pedagógica do cinema negro
Éder Rodrigues Dos Santos, Celso Luiz Prudente
Revista Extraprensa May 12, 2026 DOI: 10.11606/extraprensa2026.246590 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Key points | Argues that Yanomami cinema, exemplified by Mãri-hi – the tree of dreams, can be understood through a Merleau-Pontyan dialogical relationship with Amazonian shamanism, in which the shaman filmmaker and shaman character immerse viewers in an oneiric pedagogical imaginary where dreams indicate decisions within sociability. |
Abstract
The cinema in question is brought to the screen through the ontological protagonism perceived in Black cinema, in the demands of Indigenous filmography. However, we perceive a Merleau-Pontyan dialogical relationship with the dynamics of Amazonian shamanism, when navigating the dimensions of the visible and the invisible—a method proposed in this work for understanding Yanomami cinema. Both the shaman filmmaker and the shaman character, creators of the short film Mãri-hi – the tree of dreams, allow the viewer to immerse themselves in the telluric nature of the oneiric pedagogical imaginary, in which dreams are indicative of decisions within the dynamics of sociability.