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Advisor(s)
Abstract(s)
A pesquisa aqui apresentada pretende realizar uma análise da personagem-mulher
bruxa dentro do cinema das últimas quatro décadas. Focando-se em dois períodos
distintos, separados por um intervalo de cerca de 20 anos, há a seleção de seis filmes;
três para englobar o passado recente e três para abordar a contemporaneidade, dentro
de um contexto essencialmente norte-americano, com a exceção mais recente de uma
co-produção de três países europeus e um africano.
Elvira Mistress of the Dark (1988), de James Signorelli, Hocus Pocus (1993), de Kenny
Ortega e The Craft (1996), de Andrew Flaming, The Witch (2015), de Robert Eggers,
The Love Witch (2016), de Anna Biller, e I Am Not a Witch (2017), de Rungano Nyoni,
são as obras selecionadas para a escrita dessa dissertação, que segue dissecando os
longas e relacionando-os uns aos outros como também ao movimento feminista, ao
estudo do feminino em sociedade e às preocupações historicamente relacionadas à
mulher.
Propõe-se, através da investigação das escolhas narrativas, entender qual o papel da
mulher detentora de poderes e como ele é percebido, temido ou admirado tanto em telas
de cinema quanto no dia a dia do/a espectador/a.
The research presented here intends to carry out an analysis of the witch as a womancharacter within film over the last four decades. While focusing on two distinct periods, of about 20 years, there is a selection of six movies; three to encompass the recent past and three to address contemporaneity, within an essentially North American context, except for a most recent co-production of three European and one African country. Elvira Mistress of the Dark (1988) by James Signorelli, Hocus Pocus (1993) by Kenny Ortega and The Craft (1996) by Andrew Flaming, The Witch (2015) by Robert Eggers, The Love Witch (2016), by Anna Biller, and I Am Not a Witch (2017), by Rungano Nyoni, are the works selected for the writing of this dissertation, which continues to dissect the feature films and relate them to each other as well as to the feminist movement, to the study of the feminine within society and to concerns historically related to women. It is proposed, through the investigation of narrative choices, to understand the role of the woman who holds power and how it is perceived, feared or admired both on movie screens and in the daily life of the spectator.
The research presented here intends to carry out an analysis of the witch as a womancharacter within film over the last four decades. While focusing on two distinct periods, of about 20 years, there is a selection of six movies; three to encompass the recent past and three to address contemporaneity, within an essentially North American context, except for a most recent co-production of three European and one African country. Elvira Mistress of the Dark (1988) by James Signorelli, Hocus Pocus (1993) by Kenny Ortega and The Craft (1996) by Andrew Flaming, The Witch (2015) by Robert Eggers, The Love Witch (2016), by Anna Biller, and I Am Not a Witch (2017), by Rungano Nyoni, are the works selected for the writing of this dissertation, which continues to dissect the feature films and relate them to each other as well as to the feminist movement, to the study of the feminine within society and to concerns historically related to women. It is proposed, through the investigation of narrative choices, to understand the role of the woman who holds power and how it is perceived, feared or admired both on movie screens and in the daily life of the spectator.
Description
Keywords
Bruxa Cinema de Gênero Cinema de Mulher Feminismo Personagem-Mulher