El caso de Corazones Sucios ‘otra historia’ sobre la migración japonesa en Brasil
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Los contextos, imágenes e imaginaciones sobre los migrantes se narran y representan de
diversas maneras. La literatura y el cine son dos de ellas. Ambas, ofrecen un retrato
inmediato y completo que evade la complejidad del análisis. Este trabajo es un ejercicio
crítico para clarificar la representación de un grupo de migrantes japoneses en Brasil y sus
acciones, tras la rendición de Japón, como fenómeno histórico mediante las imágenes. Las
fuentes principales son la película Corazones Sucios del director Vicente Amorim y la obra
homónima de periodismo literario de Fernando Morais en la que se sustenta el guión. Las
preguntas que se plantean son básicas: ¿Quién habla a quién? ¿Qué es lo que se dice? ¿Con
qué intenciones se dice? ¿Cuáles son los resultados esperados? Particularmente, las
conexiones entre los contextos espaciales, culturales e históricos del fenómeno narrado
visualmente deben explicarse. La obra fílmica no es inocua. Por eso, deviene en evidencia histórica, convirtiéndose en discurso.
Contexts, images and imaginations about migrants are narrated and represented in various ways. Literature and cinema are two of them. Both offer an immediate and complete portrait that evades the complexity of the analysis. This work is a critical exercise to clarify the representation of a group of Japanese migrants in Brazil and their actions, after the surrender of Japan, as a historical phenomenon through images. The main sources are the film Dirty Hearts by director Vicente Amorim and the homonymous work of literary journalism by Fernando Morais on which the script is based. The questions that arise are basic: Who speaks to whom? What is said? With what intentions is said? What are the expected results? Particularly, the connections between the spatial, cultural and historical contexts of the visually narrated phenomenon must be explained. The film work is not harmless. Therefore, it becomes historical evidence, becoming discourse.
Contexts, images and imaginations about migrants are narrated and represented in various ways. Literature and cinema are two of them. Both offer an immediate and complete portrait that evades the complexity of the analysis. This work is a critical exercise to clarify the representation of a group of Japanese migrants in Brazil and their actions, after the surrender of Japan, as a historical phenomenon through images. The main sources are the film Dirty Hearts by director Vicente Amorim and the homonymous work of literary journalism by Fernando Morais on which the script is based. The questions that arise are basic: Who speaks to whom? What is said? With what intentions is said? What are the expected results? Particularly, the connections between the spatial, cultural and historical contexts of the visually narrated phenomenon must be explained. The film work is not harmless. Therefore, it becomes historical evidence, becoming discourse.
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