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Someday it will be necessary to make history of the madness of the secretaries of Culture of the Bolsonaro government. One opened the game and it was soon clear who inspired his work (Goebbels). Later, Regina Duarte had a hysterical fit defending the beauties from torture. Now Mario Frias arrives.
Strictly speaking, Frías is not so much to blame. He did not take the initiative. It appears to be another stick sent by the government, the creator of the patriotic campaign to celebrate the Sete de Setembro.
The secretary begins his celebration by remembering that we have a story and that it would be very good if we could see it, like him there, clear and transparent. He is in a museum, he looks at photographs and objects, he does not seem to know exactly what he sees or what he is talking about. There is a smell of history in a state of mummification.
After clarifying that in times of crisis, we discovered that we had a courage that was unknown until then, the secretary informs that he speaks for us, Brazilians, because, he says, he knows our people, we are “those people who love others and share the land, literally. ” .
You really know.And literally, in this case, what do you mean? What are we doing with the agrarian reform? We do have news of a lot of land invasions (indigenous, above all), quilombolas expelled from their fields, forest burned for livestock or mining, things like that. But the name is not exactly land division. It would be a kind of Frías to clarify who these people are who generously share their land.
We follow the trail of mistakes. Independence is celebrated, but Dom Pedro 1º appears only laterally – the focus is d. Peter 2nd. Even Princess Elizabeth has more prominence, deserving a moment of ecstatic admiration from the secretary. Prepare the exchange of love of neighbor for heroism. We are a heroic people, after all.
Search your home. There, there is an unsuspected hero who works for the family. More than that, we are willing to die for the country. Many people die from Covid-19, doctors and nurses caring for Covid-19 victims die, die from infamous sanitary conditions, die from living on the streets in winter, die from a stray bullet, etc.
Hence the heroic people walk away. We accept. But where is he? There are no people in the movie. People deserve to be abstracted. Specifically, Mario Frías is walking among Florianos and deodoros, an old radio microphone, the first Constitution of the Republic. Didn’t the government make a mistake on the date? Wasn’t the Republic on November 15? Do not hesitate. Ignorance is the number one flag of the Bolsonaro government.
Specifically, one can also remember, for example, the “taking of the Cinematheque” by a subordinate of Frías accompanied by a shock troop. Is this a heroic act?
Let’s go back to the propaganda movie. There, Mario Frías is almost always seen in contre-plongée, from the bottom up. When standing, the enlarged figure further magnifies the represented national figures. When he is seated, he sinks into a huge armchair: we are in the world of “great lords” dressed as people. Understand: the military.
The uninterrupted background music inflates the solemn picture even more, as if to remind us of the role of the Ministry of Culture in the Bolsonaro government: to be the backdrop for a cachectic vision of history or armed guardian of the cultural assets that they should be in circulation.
It is not about laughing at these things. The propaganda includes all those who are important to contemplate: monarchists, ministers of the Supreme (jealous of the Constitution), military in general, São Paulo (represented, as I saw, in the painting of a soldier from the 1932 Revolution). All the “heroic people” (and very specific) who try to please this ideological piece. The “common man” enters the smuggling, in charge of supporting the family (we have, then, Homeland, Work, Family, where have I heard that?).
This praise of history as a monument is actually an eulogy of a return to the past. Not just any past, but that of the 1964 dictatorship. For this, it brings to the fore the secretary in charge of rescuing this “story so beautiful and grand as it is despised and vilified by years of destruction of national identity”, whatever it may be. , as the government claims in the text that it introduces, in its Twitter post, the advertising piece. Or, to put it more clearly, it is a matter of imprisoning and, if possible, annihilating living cultural activity (therefore subversive) in the country.
