Olhares do desejo e olhares femininos: o cinema pornográfico feminista de Candida Royalle, suas subversões e limitações representacionais

• Ano de defesa: 2018
• Autor(a) principal: Batista, Aryani Ferreira
• Orientador(a): Henning, Carlos Eduardo
• Banca de defesa: Henning, Carlos Eduardo, Souza, Maria Luiza Rodrigues de, Ferreira, Glauco Batista
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Antropologia Social (FCS)
• Departamento: Faculdade de Ciências Sociais - FCS (RG)
• País: Brasil
• Palavras-chave em Português: Candida Royalle; Cinema pornográfico feminista; Representações sociais; Gênero; Sexualidade
• Palavras-chave em Inglês: Feminist pornographic cinema; Social representations; Gender; Sexuality
• Área do conhecimento CNPq: CIENCIAS HUMANAS::ANTROPOLOGIA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/9980

Pornography has long been considered one of the most controversial cultural works. Having the power to trigger in people various sensations such as disgust, pleasure, curiosity, fear and misunderstanding. It has mobilized several academic studies in various areas, despite its marginality, as well as media, religious and feminist debates, generating around it the well-known sex wars. And from the complex relationship between feminisms and pornography has emerged the controversy over pornography produced by women as a cultural product designed for other women. Women have in recent decades been producing representations about female sexuality in pornographic cinema and challenging the prevailing "male gaze" in this industry. The question of self-representation, therefore, gains centrality in different ways in these works. Faced with this phenomenon, I investigate Candida Royalle's film production of pornography - one of the pioneers of this field - through four of her works distributed between the early 1980s and the first decade of the new century. In addition, I contextualize the biographical path of this director and her production within feminist debates since the 1970s. In the meantime, I seek to examine the forms of subversion of the “male gaze” and the effort of this director and producer to construct a “feminine look” in your work. In addition, I seek to elucidate its relevance to feminist film pornography and by analyzing some of its works to question its contribution to this field and also its advances, subversions and representational limitations in the context that has been termed as feminist pornography.