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Persépolis: “laicidade” e feminilidade entre “Ocidente” e “Oriente”
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Advisor(s)
Abstract(s)
Nesse artigo, propomo-nos a realizar um exercício antropológico sobre a
constituição da diferença entre “Ocidente” e “Oriente” a partir da privação da liberdade
feminina em espaços públicos retratada no filme de animação Persépolis. A linguagem
cinematográfica é entendida como sendo a mais eficiente na disseminação global de
símbolos que promovem atualizações da oposição entre “Oriente” e “Ocidente”. A opção
por esse filme deve-se ao fato de ser uma autobiografia escrita e dirigida por uma mulher
criada no Irã durante regime islâmico iraniano (Marjore Satrapi) cuja trajetória legitima
o filme como sendo a expressão de um ponto de vista “oriental”. Considerando o cerne
do filme a oposição entre os seguintes pares de correspondência “Ocidente = laicidade vs
Oriente = Estado islâmico”, perguntamos: é possível dizer que o filme Persépolis seja
uma produção imagética acerca da divisão simbólica entre “Oriente” e “Ocidente”
elaborada a partir de uma perspetiva “não-ocidental”? Concluímos que o filme Persépolis
expressa uma crítica política ao espaço restrito da mulher no “Oriente” pautada por um
ponto de vista do “Ocidente”, uma vez que há, subjacente a essa crítica, a noção de
“laicidade” do regime francês.
In this article, we attempt to perform an anthropological exercise on the constitution process of the difference between "West" and "East" considering in the first place, the deprivation of female freedom in public spaces revealed in the animated movie Persépolis. The cinematic language is well known for being more efficient in the global dissemination of symbols that bring up to date the opposition between "East" and "West". We selected this movie because it is an autobiography written and directed by a woman (Marjore Satrapi) raised in Iran during the Islamic regime and her path legitimizes the movie as a manifestation of the "oriental" point of view. Considering at the core of the movie the opposition between the following matching pairs: "West = secularism vs East = Islamic State" we wonder if it would be possible to say that Persépolis is a graphic production about the symbolic division between "East" and "West" elaborated from a "non-Western" perspective. We conclude that the film expresses a political criticism of women’s restricted space in the "East" ruled by the "West" standpoint, without underestimating that this review is based on the “laïcité” concept of the French regime.
In this article, we attempt to perform an anthropological exercise on the constitution process of the difference between "West" and "East" considering in the first place, the deprivation of female freedom in public spaces revealed in the animated movie Persépolis. The cinematic language is well known for being more efficient in the global dissemination of symbols that bring up to date the opposition between "East" and "West". We selected this movie because it is an autobiography written and directed by a woman (Marjore Satrapi) raised in Iran during the Islamic regime and her path legitimizes the movie as a manifestation of the "oriental" point of view. Considering at the core of the movie the opposition between the following matching pairs: "West = secularism vs East = Islamic State" we wonder if it would be possible to say that Persépolis is a graphic production about the symbolic division between "East" and "West" elaborated from a "non-Western" perspective. We conclude that the film expresses a political criticism of women’s restricted space in the "East" ruled by the "West" standpoint, without underestimating that this review is based on the “laïcité” concept of the French regime.
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Keywords
Laicidade Feminilidade Cinema Oriente Ocidente Secularism Femininity Cinema East West . Faculdade de Artes e Humanidades
Citation
Publisher
Universidade da Madeira