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Subjetividades lésbicas no cinema contemporâneo
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Abstract(s)
Este artigo visa a analisar dois filmes centrados em histórias de mulheres
lésbicas em diferentes contextos históricos, econômicos e sociais, a saber, Rafiki (2018)
e The world to come (2020). Os filmes são vistos a partir da teoria de gênero e têm como
base o documentário O outro lado de Hollywood (1995), de modo que se possam analisar
possíveis mudanças estéticas e narrativas na subjetividade de mulheres no cinema
contemporâneo. Objetivamos reflexões a partir das mudanças percebidas no tratamento
de personagens historicamente concebidas como pervertidas sexuais ou enquadradas
através de estereótipos sexistas-patriarcais. Buscamos compreender as diferentes formas
pelas quais o protagonismo de mulheres diretoras, produtoras, escritoras e espectadoras
modelam novos cenários de representatividade e representação, ao vocalizarem novas
subjetividades no audiovisual contemporâneo. A questão não é mais tanto romper com os
ideais centrados em imaginários masculinos, mas o esforço de criar narrativas que deem
conta de falar a partir e através das mais diferentes visões de mundo, criando condições
para que a representatividade de outros sujeitos sociais concretize narrativas.
The objective of the article is to analyse two films centred on the history of lesbian women in different historical, economic, and social contexts: the Kenyan Rafiki (2018) and the American the world to come (2020). Both movies are viewed from the perspective of gender theory and have as background the documentary Celluloid Closet (1995), in order to analyse possible aesthetic and narrative changes in the subjectivity of women in contemporary cinema. We aim to make reflections from the changes perceived in the treatment of characters who historically were conceived as sexual perverts or framed through sexist-patriarchal stereotypes. We seek to understand the different ways in which the prominence of women directors, producers, writers, and spectators, by vocalizing new subjectivities in contemporary audiovisual, act to model new scenarios of representativity and representation. The issue is no longer about to break with ideals centred on male ideals, but the effort to create narratives that manage to speak from and through the most different views of the world, creating conditions for the representation of other social subjects to materialize narratives.
The objective of the article is to analyse two films centred on the history of lesbian women in different historical, economic, and social contexts: the Kenyan Rafiki (2018) and the American the world to come (2020). Both movies are viewed from the perspective of gender theory and have as background the documentary Celluloid Closet (1995), in order to analyse possible aesthetic and narrative changes in the subjectivity of women in contemporary cinema. We aim to make reflections from the changes perceived in the treatment of characters who historically were conceived as sexual perverts or framed through sexist-patriarchal stereotypes. We seek to understand the different ways in which the prominence of women directors, producers, writers, and spectators, by vocalizing new subjectivities in contemporary audiovisual, act to model new scenarios of representativity and representation. The issue is no longer about to break with ideals centred on male ideals, but the effort to create narratives that manage to speak from and through the most different views of the world, creating conditions for the representation of other social subjects to materialize narratives.
Description
Keywords
Género e cinema Teoria feminista Representatividade lésbica Estereótipos Gender and cinema Lesbian representation Feminist theory Female stereotypes . Faculdade de Artes e Humanidades
Citation
Publisher
Universidade da Madeira