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As discursive practices related to social hierarchy in Brazil, racial categories are presented in some dramas staged in Brazilian movies. This essay intends to analyze the movie “Iracema, uma transa amazonica”(1974), directed by Jorge Bodansky and Orlando Senna, in order to understand the ways “nation” and “race” contradict or complete themselves. We follow the hypothesis that the movie articulates a transition between two discursive formations: national-popular and identity.

A presença de “Iracema, uma transa amazônica” (1974) no cinema brasileiro