Morte e Vida Severina: um estudo sobre ideologias geográficas no filme O homem que virou suco (1980-1981) de João Batista de Andrade
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Data
2021-10-15
Autores
Setin, Monique Fernanda
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Universidade Estadual Paulista (Unesp)
Resumo
Esta dissertação procura contribuir com o estudo sobre ideologias geográficas e cinema. Isso será realizado a partir do conceito de paisagem, que para esta pesquisa significa cena, ou seja, um conjunto de imagens. A relação entre Geografia e cinema se estabelece a partir do processo de renovação da Geografia Cultural, iniciado na década de 1980. Esse campo de estudos analisa a representação do espaço geográfico nos filmes através de imagens e/ou narrativas. O cinema é uma das manifestações da cultura responsáveis por disseminar valores e visões de mundo, contribuindo, dessa forma, para a construção da valorização subjetiva do espaço geográfico, tornando-se fundamental compreendê-las, pois são essas motivações que impulsionam sua produção material. Os intelectuais da Teoria Crítica, em meados do século XX, criaram o conceito de “indústria cultural”, analisando a cultura produzida pelos grandes cartéis dos centros hegemônicos, e perceberam que o conceito tem por objetivo denunciar a padronização das necessidades humanas (consumo, comportamento, subjetividades etc.), de modo a alienar a sociedade capitalista contemporânea. No entanto, opondo-se à indústria cultural, surgem novas vozes e narrativas buscando construir uma “Cultura Nacional Popular” por meio de literatura, música, teatro e cinema, ao longo do século XX. O objetivo da pesquisa é estabelecer um contraponto à abordagem dominante colonizadora e responder à seguinte questão: quais ideologias geográficas podemos extrair do filme O homem que virou suco, de João Batista de Andrade (1980-1981)? Analisamos a obra fílmica buscando encontrar nas paisagens-imagens e nas falas dos personagens as ideologias geográficas. Para a realização desta pesquisa fizemos revisão bibliográfica. Para melhor organizar o filme, dividimo-lo em blocos a partir do deslocamento do personagem principal pela metrópole paulista. As principais ideologias geográficas encontradas foram o discurso de que a dedicação ao trabalho, a responsabilidade perante a família e a disciplina diante das leis são fundamentais para a construção da Nação; há concepção de trabalho enquanto dureza e do artista como vagabundo; há diferenciação entre São Paulo e o Nordeste; a concepção de Norte e Nordeste como se fossem a mesma região; a visão de que o Brasil é moderno e atrasado; e a concepção de que trabalho em São Paulo é dureza e no Nordeste é moleza. As ideias são fundamentais, pois elas se materializam na nossa prática cotidiana.
This dissertation seeks to contribute to the study of geographic ideologies and the cinema. This will be performed through the concept of landscape, which for this research means scene, that is, a set of images. The relationship between Geography and the cinema is established from the process of renewal of Cultural Geography, which began in the 1980s. This field of study analyzes the representation of geographic space in films through images and/or narratives. The cinema is one of the manifestations of culture responsible for disseminating values and worldviews, thus contributing to the construction of the subjective valorization of geographic space, making it essential to understand them, because these motivations are the ones that drive their material production. The intellectuals of Critical Theory, in the mid-twentieth century, created the concept of "cultural industry", analyzing the culture produced by the great cartels of hegemonic centers, and realized that the concept aims to denounce the standardization of human needs (consumption, behavior, subjectivities, etc.), in order to alienate the contemporary capitalist society. However, opposing the cultural industry, new voices and narratives emerge seeking to build a "Popular National Culture" through literature, music, theater and cinema, throughout the twentieth century. The aim of the research is to establish a counterpoint to the dominant colonizing approach and answer the following question: what geographical ideologies can we extract from the film O homem que virou suco, by João Batista de Andrade (1980- 1981)? We analyze the filmic work seeking to find the geographical ideologies in the landscapes-images and in the speeches of the characters. For this research, we made a bibliographic review. To better organize the film, we divided it into blocks beginning with the displacement of the main character through the metropolis of São Paulo. The main geographical ideologies found were: the discourse that dedication to work, responsibility to the family and discipline before laws are fundamental for the construction of the Nation; there is a conception of work as being hard and of the artist as a vagabond; there is a differentiation between São Paulo and the Northeast; the conception of North and Northeast as if they were the same region; the view that Brazil is modern and outdated; and the conception that work in São Paulo is hard while in the Northeast it is easy. Ideas are fundamental, because they materialize in our daily practice.
This dissertation seeks to contribute to the study of geographic ideologies and the cinema. This will be performed through the concept of landscape, which for this research means scene, that is, a set of images. The relationship between Geography and the cinema is established from the process of renewal of Cultural Geography, which began in the 1980s. This field of study analyzes the representation of geographic space in films through images and/or narratives. The cinema is one of the manifestations of culture responsible for disseminating values and worldviews, thus contributing to the construction of the subjective valorization of geographic space, making it essential to understand them, because these motivations are the ones that drive their material production. The intellectuals of Critical Theory, in the mid-twentieth century, created the concept of "cultural industry", analyzing the culture produced by the great cartels of hegemonic centers, and realized that the concept aims to denounce the standardization of human needs (consumption, behavior, subjectivities, etc.), in order to alienate the contemporary capitalist society. However, opposing the cultural industry, new voices and narratives emerge seeking to build a "Popular National Culture" through literature, music, theater and cinema, throughout the twentieth century. The aim of the research is to establish a counterpoint to the dominant colonizing approach and answer the following question: what geographical ideologies can we extract from the film O homem que virou suco, by João Batista de Andrade (1980- 1981)? We analyze the filmic work seeking to find the geographical ideologies in the landscapes-images and in the speeches of the characters. For this research, we made a bibliographic review. To better organize the film, we divided it into blocks beginning with the displacement of the main character through the metropolis of São Paulo. The main geographical ideologies found were: the discourse that dedication to work, responsibility to the family and discipline before laws are fundamental for the construction of the Nation; there is a conception of work as being hard and of the artist as a vagabond; there is a differentiation between São Paulo and the Northeast; the conception of North and Northeast as if they were the same region; the view that Brazil is modern and outdated; and the conception that work in São Paulo is hard while in the Northeast it is easy. Ideas are fundamental, because they materialize in our daily practice.
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Palavras-chave
Paisagem-imagem, Geografia do cinema, Ideologias geográficas, Indústria cultural, Cinema de intervenção, Landscape-image, Geography of the cinema, Geographical ideologies, Cultural industry, Intervention cinema