Cinema de mulheres em Curitiba: subjetividade feminista indireta livre na construção de um contracinema

Abstract

The aim of this study is to analyze, from a feminist perspective, the cinema made by women in Curitiba, from 2013 to 2017, through the films of three filmmakers who have different maturities and scope (national, state and regional). Specifically, it seeks to analyze the issue of gender, female subjectivity and free indirect style. In the light of the feminist film theory, three films will be analyzed: the feature film Construindo Pontes (2017), by Heloisa Passos; the short film Notícias da Rainha (2013), by Ana Johann; and the short film Tentei (2016), by Laís Melo. For this, the work is divided into three main steps, involving a theoretical part, a part on film concepts and another with the analysis itself. We will use as a theoretical reference to approach feminist subjectivity in the analyzed films: studies on the identification and projection of women by Laura Mulvey; the idea of a counter-cinema as opposed to the classic cinema of Mulvey, Smelik, De Lauretis and A. M. Veiga; the debate over voice over / voice off by Doane; the gender issue with De Lauretis, Foucault and Butler, the modern Brazilian cinema authored by Karla Holanda, and the Brazilian feminism of the new generation in Brazil, with Heloisa Buarque de Hollanda. The main tensioned theoretical lines will be approached from a feminist perspective taking into account the question of the style of modern cinema added to Pasolini's free indirect subjectivity. From this central paradigm, taking it as an approach hypothesis, each of the analyzed films opens up a specific path. In Construindo Pontes, we engage in public-private relations in firstperson documentaries; in Notícias da Rainha, the intersections between mise-enscène and intermidiality are used; finally, in Tentei, the debate on silences and oppression within slow cinema begins. In this way, we will compare the free indirect style used by the directors in the construction of a counter-cinema and, therefore, with modern features.