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Masculinidades e a desolada paisagem urbana do cinema noir
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Abstract(s)
: Um dos personagens presentes no cinema estadunidense desde o início é o de
homens que vagam pelas paisagens do país sem rumo e sem raiz. Por mais que a
exploração das paisagens inóspitas do Oeste seja uma constante no gênero faroeste, o
contexto urbano apresenta outras questões e desafios para esses personagens. Nos anos
posteriores à Segunda Guerra Mundial muitas histórias focam nas dificuldades que
envolvem a adaptação à vida civil dos que foram à guerra. Esse tema, abordado de
diversas maneiras, está presente no cinema noir do período, mas não limitado a ele.
Mesmo sem afirmar que o personagem é veterano, os filmes de forma geral possuem
protagonistas desenraizados, desesperados e/ou a procura de algo. Partindo do filme de
Edgar Ulmer, Detour (1945), o texto debate esses personagens e os desafios que
enfrentam em espaços, que diferente do Oeste, não se constituem como um mundo de
possibilidades, muito menos representam liberdade. No noir, esse homem sente-se
aprisionado mesmo quando vislumbra o Oeste. Apoiada nas discussões de autores como
Frank Krutnik (1991), Mike Chopra-Gant (2006) e Michael Kimmel (2005), problematizo
a atualidade do tema ainda presente nas representações culturais.
One of the characters portrayed by the American cinema since its beginning is the man who wanders aimlessly and rootlessly through the country’s landscape. Even though exploitation of the inhospitable landscape of the West is a constant in Western movies, the urban context poses other questions and challenges to this character. In the years after the Second World War, many stories focused on the difficulties faced by those who had been to the war to adapt to civil life. This theme, which was approached in different ways, is present in film noir of the period, but not limited to it. Even without asserting that the character is a veteran, movies in general have protagonists that are rootless, desperate and in search for something. Based on the movie Detour (1945) directed by Edgar Ulmer, this text debates these characters and challenges that they face in places which, unlike the West, are neither a world of possibilities nor the representation of freedom. In noir, these men feel imprisoned even when they catch a glimpse of the West. In the light of some authors, such as Frank Krutnik (1991), Mike Chopra-Gant (2006) and Michael Kimmel (2005), I have problematized this theme, which may still be found in current cultural representations.
One of the characters portrayed by the American cinema since its beginning is the man who wanders aimlessly and rootlessly through the country’s landscape. Even though exploitation of the inhospitable landscape of the West is a constant in Western movies, the urban context poses other questions and challenges to this character. In the years after the Second World War, many stories focused on the difficulties faced by those who had been to the war to adapt to civil life. This theme, which was approached in different ways, is present in film noir of the period, but not limited to it. Even without asserting that the character is a veteran, movies in general have protagonists that are rootless, desperate and in search for something. Based on the movie Detour (1945) directed by Edgar Ulmer, this text debates these characters and challenges that they face in places which, unlike the West, are neither a world of possibilities nor the representation of freedom. In noir, these men feel imprisoned even when they catch a glimpse of the West. In the light of some authors, such as Frank Krutnik (1991), Mike Chopra-Gant (2006) and Michael Kimmel (2005), I have problematized this theme, which may still be found in current cultural representations.
Description
Keywords
Filme noir Masculinidades Oeste Film noir Masculinities West . Faculdade de Artes e Humanidades
Citation
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Universidade da Madeira