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O Ato de criação queer como autofabulação e resistência no cinema luso-brasileiro contemporâneo
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Abstract(s)
Pensar em um cinema queer é refletir sobre como a produção audiovisual, com suas estratégias estético-narrativas, pode contribuir para um contradiscurso antinormativo, disruptivo e desestabilizador dos padrões de gênero e sexualidade. Esta tese centra-se na noção de que uma série de filmes contemporâneos concretiza esse propósito a partir da encenação de um ato de criação queer, por meio do qual seus protagonistas fabulam e reimaginam suas existências fazendo uso de gestos de autonarrativização e criação artística. Com esse objetivo, a análise busca identificá-lo e examiná-lo em um corpus fílmico composto por nove longas-metragem luso-brasileiros realizados entre 2009 e 2021. Partindo de uma breve recapitulação da história da arte apoiada nos estudos de Reed (2011) e Trevisan (2018), a investigação reflete sobre as propostas e pensamentos de autores como Dyer (2002), Halperin (2012), Halberstam (2005) e Preciado (2011), que procuram compreender e demonstrar a relação entre subjetividade queer e uma série de práticas e sensibilidades culturais específicas. Ao articular tais reflexões com o trabalho de pesquisadores/as do sul global que têm reconfigurado a teoria queer a partir de uma perspectiva decolonial, busca-se apontar seus possíveis desdobramentos na produção cinematográfica luso-brasileira contemporânea. Esse alicerce teórico é, então, colocado em diálogo com os longas estudados e seus/uas realizadores/as, utilizando a metodologia proposta pela Teoria dos Cineastas. Com base em entrevistas com os/as diretores/as e em um extensivo trabalho de análise fílmica, a tese demonstra como as nove produções, por meio das lógicas espácio-temporais delineadas em sua mise-en-scène e da horizontalidade de suas configurações criativas, são capazes de vislumbrar novas futuridades queer.
Thinking of a queer cinema means reflecting on how audiovisual production, with its aesthetic-narrative strategies, can contribute to an anti-normative, disruptive and destabilizing counter-discourse of gender and sexuality standards. This thesis explores the notion that a series of contemporary movies achieves this purpose by staging a queer creative act, through which their protagonists fabulate and reimagine their existences resorting to gestures of self-narrativization and artistic creation. With this intent, the analysis tries to identify and examine it in a film corpus composed of nine Luso-Brazilian features produced between 2009 and 2021. Based on a brief recapitulation of art history supported by Reed (2011) and Trevisan (2018), the research delves into the studies of scholars such as Dyer (2002), Halperin (2012), Halberstam (2005), and Preciado (2011), who seek to understand and establish the relationship between queer subjectivity and a series of specific cultural practices and sensibilities. By articulating these views with the work of researchers from the global south who have been reconfiguring queer theory from a decolonial perspective, the investigation tries to determine its possible developments in the Luso-Brazilian contemporary film production. This theoretical framework is, then, put in dialogue with the selected features and their creators, using the methodology proposed by the Filmmakers’ Theory. Based on interviews with the directors, as well as on an extensive work of film analysis, the thesis illustrates how the nine movies, through the spatio-temporal logics outlined in their mise-en-scène and the horizontality of their creative configurations, are able to devise new queer futurities.
Thinking of a queer cinema means reflecting on how audiovisual production, with its aesthetic-narrative strategies, can contribute to an anti-normative, disruptive and destabilizing counter-discourse of gender and sexuality standards. This thesis explores the notion that a series of contemporary movies achieves this purpose by staging a queer creative act, through which their protagonists fabulate and reimagine their existences resorting to gestures of self-narrativization and artistic creation. With this intent, the analysis tries to identify and examine it in a film corpus composed of nine Luso-Brazilian features produced between 2009 and 2021. Based on a brief recapitulation of art history supported by Reed (2011) and Trevisan (2018), the research delves into the studies of scholars such as Dyer (2002), Halperin (2012), Halberstam (2005), and Preciado (2011), who seek to understand and establish the relationship between queer subjectivity and a series of specific cultural practices and sensibilities. By articulating these views with the work of researchers from the global south who have been reconfiguring queer theory from a decolonial perspective, the investigation tries to determine its possible developments in the Luso-Brazilian contemporary film production. This theoretical framework is, then, put in dialogue with the selected features and their creators, using the methodology proposed by the Filmmakers’ Theory. Based on interviews with the directors, as well as on an extensive work of film analysis, the thesis illustrates how the nine movies, through the spatio-temporal logics outlined in their mise-en-scène and the horizontality of their creative configurations, are able to devise new queer futurities.
Description
Keywords
Ato de criação queer Cinema Queer Contemporâneo Cinema Brasileiro Cinema Português Estudos Fílmicos Queer Teoria dos Cineastas Contemporary Queer Cinema