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Frances e Julie: o protagonismo feminino no cinema e as questões da mulher contemporânea
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Abstract(s)
A temática feminina tem se tornado recorrente no cinema, neste artigo, a partir
da comparação de duas obras cinematográficas, Frances Ha (2012) e A Pior Pessoa do
Mundo (2021), são propostas reflexões sobre uma fase transitória (e um pouco confusa)
da vida da mulher contemporânea: quando não se é mais jovem, mas ainda não se
alcançou a maturidade esperada – e por vezes – cobrada. Enquanto percurso
metodológico, foi utilizada a proposta de Cândida Vilares Gancho (2006) para análise de
narrativa e a de Francis Vanoye e Anne GoliotLété (2012) para análise fílmica. Como
contribuições teóricas, partimos de quatro campos conceituais fundamentais para as
análises: Walter Benjamin (1994), explicando narrativa; Mikhail Bakhtin, a partir de Julia
Kristeva (2012), com o conceito de intertextualidade, Jacques Aumont (1995) sobre
cinema e Simone de Beauvoir (2012) para as percepções do feminino. Após a análise
comparativa, foi possível chegar a algumas conclusões que apontam para narrativas
cinematográficas que retratam protagonistas questionadoras em relação às demandas
sociais impostas às mulheres. Frances e Julie, apesar das dificuldades, buscam uma
existência que lhes seja favorável, de acordo com suas visões de mundo e escolhas
individuais que nem sempre condizem com o imperativo social.
The female theme has become recurrent in the cinema, in this article, from the comparison of two cinematographics works, Frances Ha (2012) and A Pior Pessoa do Mundo (2021), reflections are proposed on a transitory (and somewhat confusing) phase of the contemporary woman's life: when one is no longer young, but still haven't reached the expected - and sometimes - demanded maturity. As a methodological path, Cândida Vilares Gancho's (2006) proposal was used for the analysis of the narratives, and Francis Vanoye and Anne GoliotLété's (2012) to perform the filmic analysis. As theoretical contributions, we start from four fundamental conceptual fields for the analysis: Walter Benjamin (1994), explaining the narrative; Mikhail Bakhtin, based on Julia Kristeva (2012), with the concept of intertextuality, Jacques Aumont (1995) about cinema and Simone de Beauvoir (2012) on the perceptions of the feminine. After the comparative analysis, it was possible to reach some conclusions that point to cinematographic narratives that portray questioning protagonists in relation to the socially imposed demands on women. Frances and Julie, despite the difficulties, seek an existence that is favorable to them, according to their world view and individual choices that do not always match the social imperative.
The female theme has become recurrent in the cinema, in this article, from the comparison of two cinematographics works, Frances Ha (2012) and A Pior Pessoa do Mundo (2021), reflections are proposed on a transitory (and somewhat confusing) phase of the contemporary woman's life: when one is no longer young, but still haven't reached the expected - and sometimes - demanded maturity. As a methodological path, Cândida Vilares Gancho's (2006) proposal was used for the analysis of the narratives, and Francis Vanoye and Anne GoliotLété's (2012) to perform the filmic analysis. As theoretical contributions, we start from four fundamental conceptual fields for the analysis: Walter Benjamin (1994), explaining the narrative; Mikhail Bakhtin, based on Julia Kristeva (2012), with the concept of intertextuality, Jacques Aumont (1995) about cinema and Simone de Beauvoir (2012) on the perceptions of the feminine. After the comparative analysis, it was possible to reach some conclusions that point to cinematographic narratives that portray questioning protagonists in relation to the socially imposed demands on women. Frances and Julie, despite the difficulties, seek an existence that is favorable to them, according to their world view and individual choices that do not always match the social imperative.
Description
Keywords
Mulher Feminino Cinema Análise fílmica Frances Ha A Pior Pessoa do Mundo Woman Feminine Cinema Film analysis . Faculdade de Artes e Humanidades
Citation
Cavassani, F. (2023). Frances e Julie: o protagonismo feminino no cinema e as questões da mulher contemporânea. Cinema & Território, (8), 141-153. https://doi.org/10.34640/c&t8uma2023cavassani
Publisher
Universidade da Madeira