Corpos sensíveis em cenas (in)visíveis: consensos e dissensos em imagens midiáticas de mulheres usuárias de drogas

Abstract

This dissertation discusses the forms of female representation in drug prevention advertising campaigns, focusing on the modes of enunciation and figuration of the body. Based on the assumption that such verbal and visual configurations constitute consensual scenes of a traditional vision of what it is to be a woman, the hypothesis is that they participate in scenes of consensuality governed by an immune logic of screening subjects in society, male or female. The general objective was identifying the meanings of the female body, in face of its visibility or invisibility, in advertising campaigns for drug prevention through its modes of enunciation and figuration. The specific objectives involve: explore the historical dimension of female corporeality in these campaigns; elucidate the consensual meanings of the female body in the campaigns and locate some dissensual scenes assumed by corporeality in drug prevention, with a view to emancipation, beyond the epicenter of advertising. The process of searching and exploring prevention campaigns generated an initial amount of 1320 ads, which favored the historical understanding of the models of representation of the female body in relation to drug use, but needed to be cut into broader classes grouped by similarities. Were defined as empirical objects a set of 20 advertising posters, published between 2000 and 2022, in which the female body is figurativized and was allowed to draw a typology of women associated with drug use, either by breaking the expectations of the female subject, who in the occurrence appear as victims of a deviation, or by homologating prejudiced views against certain types of women previously considered as deviant in the social scene. These campaigns were analyzed from the perspective of politics and aesthetics, of egalitarian and montage scenes, of the role of the body in the constitution of senses, according mainly to studies and postulates of Jacques Rancière (1988, 2009, 2010, 2012, 2014, 2018a, 2018b, 2019, 2021a, 2021b), Laura Quintana (2020, 2021, 2022) and Georges DidiHuberman (2003, 2008, 2010, 2011, 2013, 2015, 2016, 2017, 2018a, 2018b, 2018c, 2020) and the figurative and thematic aspects of the body, inserting it at the center of the semiosis, based on Fontanille (2016a, 2016b, 2019). Through montages that confront times, spaces, and enunciations, the following thematic categories were formed, which involve physical appearance, violence, and immorality: the seductive woman, who opportunizes drug use, whose body is metaphorized in the drug itself; the caregiving woman, who regulates and maintains the sobriety of spouses, children, and parents; and the woman who causes suffering to others, such as mothers who use drugs during pregnancy and victimize their children. The difficulty in the search for campaigns that attend to dissensual processes is highlighted, something located in creative strategies through other media and artistic languages, which were pinpointed as a counterpoint to consensualities. The importance of conferring the enunciation proper to women drug users, to stimulate the search for help in a dignified way, distancing from the mere visibility of the body in suffering. Finally, as a strategy for future discussions and dissemination of the research in the community, a compilation was developed with the main results obtained by the investigation.