Para além da vagabunda ou da mocinha. A construção discursiva a respeito da heroína/super-heroína nas adaptações cinematográficas de Barbarella (1968) e Mulher Maravilha (2017).
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Data
2022-05-31
Autores
Dalbeto, Lucas do Carmo
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho tem como objetivo investigar os discursos referentes às figuras femininas e a performance de feminilidade nas adaptações cinematográficas Barbarella (1968) e Mulher-Maravilha (2017) originárias das Histórias em Quadrinhos e consideradas importantes marcos da representação feminina neste recorte cinematográfico. Para tanto, adota-se como aporte teórico-metodológico a perspectiva de discurso foucaultiana, compreendendo os filmes como dispositivos e, como tais, permeados por linhas de forças em vigor nos momentos das produções. Procura-se esboçar uma análise arquegenealógica desses objetos que compõe o corpus, apoiando-se nas contribuições da Teoria Crítica Feminista do Cinema. Defendo a tese de que as produções discursivas nas obras cinematográficas são pautadas por um olhar masculino, o male gaze, ainda que tenham a autoria feminina. Isso porque, o olhar feminino é permeado pelas linhas de força da sociedade patriarcal, que o colonizam e estabelecem os regimes de enunciabilidades e visibilidades possíveis aos dispositivos. Como resultados, identifico que as produções, ainda que detenham marcas da subjetividade dos autores, não se restringem ao binarismo dicotômico. Nos dois dispositivos fílmicos, identifico movimentos de assujeitamento e liberação em menor ou menor grau, agenciados pelo momentum de cada produção.
This work aims to investigate the discourses referring to female figures and the performance of femininity in the film adaptations Barbarella (1968) and Wonder Woman (2017) originating from the Comics and considered impo rtant milestones of female representation in this cinematographic cut. In order to do so, the Foucauldian perspective of discourse is adopted as a theoreticalmethodological contribution, understanding films as devices and, as such, permeated by lines of f orces in force at the moments of production. It seeks to sketch an archegenealogical analysis of these objects that make up the corpus, based on the contributions of the Critical Feminist Theory of Cinema. I defend the thesis that the discursive production s in cinematographic works are guided by a male gaze, the male gaze, even though they have female authorship. This is because the female gaze is permeated by the lines of force of patriarchal society, which colonize it and establish the regimes of enunciab ility and possible visibilities to the devices. As a result, I identify that the productions, despite having marks of the authors' subjectivity, are not restricted to dichotomous binarism. In the two filmic devices, I identify movements of subjection and r elease to a lesser or lesser degree, brokered by the momentum of each production
This work aims to investigate the discourses referring to female figures and the performance of femininity in the film adaptations Barbarella (1968) and Wonder Woman (2017) originating from the Comics and considered impo rtant milestones of female representation in this cinematographic cut. In order to do so, the Foucauldian perspective of discourse is adopted as a theoreticalmethodological contribution, understanding films as devices and, as such, permeated by lines of f orces in force at the moments of production. It seeks to sketch an archegenealogical analysis of these objects that make up the corpus, based on the contributions of the Critical Feminist Theory of Cinema. I defend the thesis that the discursive production s in cinematographic works are guided by a male gaze, the male gaze, even though they have female authorship. This is because the female gaze is permeated by the lines of force of patriarchal society, which colonize it and establish the regimes of enunciab ility and possible visibilities to the devices. As a result, I identify that the productions, despite having marks of the authors' subjectivity, are not restricted to dichotomous binarism. In the two filmic devices, I identify movements of subjection and r elease to a lesser or lesser degree, brokered by the momentum of each production
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Palavras-chave
Análise do Discurso, Teoria Crítica Feminista do Cinema, Super-Heroínas, Barbarella, Mulher-Maravilha, Discourse analysis, Feminist film theory, Superheroines, Barbarella, Wonderwoman