O gênero juvenil no cinema brasileiro: um estudo

• Ano de defesa: 2014
• Autor(a) principal: Souza, Juliana de
• Orientador(a): Gatti , José
• Banca de defesa: Araujo , Denize Correa, Moraes , Taiza Mara Rauen
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Tuiuti do Parana
• Programa de Pós-Graduação: Mestrado em Comunicação e Linguagens
• Departamento: Comunicação e Linguagens
• País: Brasil
• Palavras-chave em Português: Cinema juvenil brasileiro contemporâneo; Gênero cinematográfico; Cultura(s) juvenil(s); Juventude(s)
• Palavras-chave em Inglês: Contemporary Brazilian youth cinema; Film genre; Youth culture(s); Youth(s)
• Área do conhecimento CNPq: CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Resumo em Inglês: This dissertation aims to investigate the existence of youth genre in contemporary national cinema, analyzing three Brazilian fictional feature films from the 2000s, they are: Meu tio matou um cara (Jorge Furtado – 2004); Antes que o mundo acabe (Ana Luiza Azevedo – 2009) and As melhores coisas do mundo (Laís Bodansky – 2010), emphasizing the movie Meu tio matou um cara. It is thought necessary this investigation in front of the rise of the young in several segments of society, specially, as a film great consumer. Equally, the importance derives from the emphasis achieved by youth in the mediatization of society process, in order to be identified the technological culture as a youth culture. This search also believes in the importance of the film genre‟s studies, considering that very often, the recognition of a specific genre can help in understanding the history of the cinema and its aesthetic too. Genres are also relevant to the production, consumption, dissemination, distribution and analysis/review of cinematographic works. The search problem emerges from the inexpressiveness of youth genre in national cinema, due to the American cinema domination, even if new investees have been made in productions directed to youth. In this context, there are the questions: In front of a genre so poorly developed in our filmography, what are the elements used in these movies to come close of this audience? Which characteristics allow denominate them as youth movies? This filmography can really represent the young universe? It is believed that the directors of the three chosen movies, attentive to cultural movements and perceiving in the youth an audience to be explored, developed movies able to dialogue with their target audience. Beyond bibliographical search, it was performed a semantic-syntactic analysis, proposed by Altman (2003), which is characterized by addressing both, the content and the narrative form, in a complementary way. Through analysis was possible to draw some principles shared by youth movies and identify the tools that connect the movie with the target audience. Thus, even in a modest way, it was possible to check the presence of youth genre in national cinema, confirming the hypothesis proposed previously. The main concepts that guide this search are: youth (Abramo, 2005); youth cultures (Catani e Gilioli, 2008); film genre (Bakhtin, 1997 – although the author gives priority to speech genres –; Altman, 1999; and Moine, 2008) and youth movie (Bueno, 2005).
• Link de acesso: http://tede.utp.br:8080/jspui/handle/tede/1409

This dissertation aims to investigate the existence of youth genre in contemporary national cinema, analyzing three Brazilian fictional feature films from the 2000s, they are: Meu tio matou um cara (Jorge Furtado – 2004); Antes que o mundo acabe (Ana Luiza Azevedo – 2009) and As melhores coisas do mundo (Laís Bodansky – 2010), emphasizing the movie Meu tio matou um cara. It is thought necessary this investigation in front of the rise of the young in several segments of society, specially, as a film great consumer. Equally, the importance derives from the emphasis achieved by youth in the mediatization of society process, in order to be identified the technological culture as a youth culture. This search also believes in the importance of the film genre‟s studies, considering that very often, the recognition of a specific genre can help in understanding the history of the cinema and its aesthetic too. Genres are also relevant to the production, consumption, dissemination, distribution and analysis/review of cinematographic works. The search problem emerges from the inexpressiveness of youth genre in national cinema, due to the American cinema domination, even if new investees have been made in productions directed to youth. In this context, there are the questions: In front of a genre so poorly developed in our filmography, what are the elements used in these movies to come close of this audience? Which characteristics allow denominate them as youth movies? This filmography can really represent the young universe? It is believed that the directors of the three chosen movies, attentive to cultural movements and perceiving in the youth an audience to be explored, developed movies able to dialogue with their target audience. Beyond bibliographical search, it was performed a semantic-syntactic analysis, proposed by Altman (2003), which is characterized by addressing both, the content and the narrative form, in a complementary way. Through analysis was possible to draw some principles shared by youth movies and identify the tools that connect the movie with the target audience. Thus, even in a modest way, it was possible to check the presence of youth genre in national cinema, confirming the hypothesis proposed previously. The main concepts that guide this search are: youth (Abramo, 2005); youth cultures (Catani e Gilioli, 2008); film genre (Bakhtin, 1997 – although the author gives priority to speech genres –; Altman, 1999; and Moine, 2008) and youth movie (Bueno, 2005).