Banca de DEFESA: CLARISSA FRAGA BARBOSA GONCALVES DE AZEVEDO
Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.STUDENT : CLARISSA FRAGA BARBOSA GONCALVES DE AZEVEDO
DATE: 30/06/2023
TIME: 14:30
LOCAL: AUDITÓRIO DO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO
TITLE:
The face of contemporary Pernambuco’s cinema and their maternal representations
KEY WORDS:
Pernambuco’s cinema; maternal representation; feminisms; gender studies; motherhood; cinema;
identitary avenues.
PAGES: 272
BIG AREA: Ciências Sociais Aplicadas
AREA: Comunicação
SUMMARY:
This Thesis-Letter is divided into three parts and it’s structured as a constellation of memories and written in a format of letters addressed to my son. The first part is written as a Complaint-Letter, in which we have, inspired by the work of the Gemaa group (2012; 2018), investigated the face of Pernambuco’s cinema, which has created some mother characters. We mapped the feature films made in the most cinematically fertile decade for Pernambuco State, the 2010s, and we examined in terms of gender and race what kind
of screen-bodies (MARTINS, 2020) are acting in the main functions of cinema creation, such as directors and screenwriters. In the second part, written as a Manifesto-Letter, we researched mother figures examining how the roles of cisheteronormative gender social groups (SAFFIOTI, 1987) gestate the cinematographic roles and the sexist and racist images of control (COLLINS, 2009; BUENO, 2020) in cinema; and how these images
influence our subjectivity, our self-definition and our self-representation/performance. Finally, written as a Dialogue-Letter, we mapped the maternal characters created in the fiction feature films of Pernambuco in the 2010s and we realized that they represent images of denunciation: term we created to classify them. We finish off by weaving film analyzes about the mothers of Kleber Mendonça Filho’s, in the films O som ao redor (2013), Aquarius (2016), and Gabriel Mascaro’s, in the films Boi neon (2016) and Divino amor (2019), studying who these mothers are, what identity avenues (AKOTIRENE, 2019) cross them and how they experience motherhood. These letters navigate geographic maps, giving birth to cartographies about Pernambuco’s cinema in the 2010s, but they also go through affective maps, in a dialogue that is both intimate and personal, once it has been plotted with my son, and yet it is also collective and public, as it is a dialogue about motherhood and cinema, about being and representing socially and cinematically. This Thesis-Letter was also inspired by the doctoral dissertation by Maurício Virgulino Silva (2022, ECA/USP), written in format of letters to his future daughter, Teodora. As for me, I write letters to my son who is already Benjamim Rudá.
COMMITTEE MEMBERS:
Externa ao Programa - 1030666 - AMANDA MANSUR CUSTODIO NOGUEIRA - nullInterna - 3218230 - MARIA COLLIER DE MENDONCA
Presidente - 1435892 - NINA VELASCO E CRUZ