A finalidade deste artigo é analisar aspectos do Dogma Feijoada, um movimento de diretores e profissionais negros do audiovisual de São Paulo que, desde o final da década de 1990, preconizava a necessidade de ressignificar as imagens e representações sobre o negro no cinema brasileiro. A partir do lançamento do manifesto Dogma Feijoada, em 2000, escrito pelo cineasta Jeferson De, o movimento buscou produzir filmes centrados na temática racial e desenvolver um conceito de “cinema negro” brasileiro, o que causou polêmicas e controvérsias no meio cinematográfico, sem contudo deixar de influenciar a produção contemporânea de cineastas autodeclarados afro-brasileiros.

The aim of the current article is to analyze the aspects of the Feijoada Dogma, which was a movement launched by black movie directors and audio-visual professional in São Paulo, who, since the late 1990s, advocated for the need of giving new meanings and representations to Afro descendants in the Brazilian movie industry. Based on the Feijoada Dogma manifesto, from 2000, which was written by Jeferson De, the movement had the goal to produce films about the race issue and to develop a concept of “Brazilian black movie industry”. It led to controversy in the cinematographic field, although it did not stop influencing the contemporary production of self-declared Afro-Brazilian movie makers.

Le but de cet article est d’analyser les aspects du Dogme Feijoada, un mouvement de directeurs et de professionnels de l’audiovisuel à São Paulo qui, depuis la fin des années 1990, préconisaient la nécessité de resignifier les images et les représentations de l’homme noir dans le cinéma brésilien. C’est à partir du manifeste du Dogme Feijoada, en 2000, écrit par le cinéaste Jeferson De, que le mouvement a tenté de produire des films centrés sur le thème racial et de développer un concept de « cinéma black » brésilien, ce qui a provoqué des polémiques et des controverses dans le milieu cinématographique, sans toutefois empêcher une influence sur la production contemporaine des cinéastes autoproclamés afro-brésiliens.

Resumo O artigo examina como a questão do negro foi abordada e debatida no cinema brasileiro a partir de dois textos-manifestos de cineastas e críticos vinculados ao Cinema Novo: David Neves e Orlando Senna. Se o arrazoado desses autores se aproxima ao estabelecer que o Cinema Novo redefiniu a representação do negro no cinema brasileiro, distancia-se quanto ao caráter dessa redefinição. O intento, portanto, é tecer uma análise comparativa dos dois primeiros ensaios sobre a presença negra na história do cinema brasileiro.

Abstract This article assesses the way the "Negro" issue was addressed and debated by Brazilian cinema in two texts/manifestos written by filmmakers and critics associated with the Cinema Novo: David Neves and Orlando Senna. On one hand, the reasoning of these authors is similar as they establish that the Cinema Novo redefined the representation of black people in Brazilian films; on the other hand, however, they disagree with regard to the meaning of such definition. Thus, the aim of this article is to draw a comparative analysis between the two first essays to deal with the black presence in the history of Brazilian cinema.