Uma câmera toda delas - a mulher nos filmes de Petra Costa: um estudo junguiano

• Ano de defesa: 2018
• Autor(a) principal: Tancetti, Barbara
• Orientador(a): Wahba, Liliana Liviano
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Psicologia: Psicologia Clínica
• Departamento: Faculdade de Ciências Humanas e da Saúde
• País: Brasil
• Palavras-chave em Português: Mulheres no cinema; Mulheres - Identidade; Psicologia junguiana; Costa, Petra [1983- ]
• Palavras-chave em Inglês: Women in motion pictures; Women - Identity
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::PSICOLOGIA
• Link de acesso: https://tede2.pucsp.br/handle/handle/20974

The motivation for this study derives from the reflections instigated by Virginia Woolf's "A Roof of One's Own," written in the 1920s, and by the time we live in, when the position of women in society and even feminist discourses are being rethought and debated by the academia and by the media. In the context of artistic productions and in particular of cinematographic works, women and their productions were historically and socially excluded or relegated to marginal and less visible spaces, partly due to what is meant by the notion of masculine gaze and the resulting stereotyped representation of gender roles. Focusing on the work of director and writer Petra Costa - based on the notion of female gaze - this study explores the theme of women and their vision of themselves and their own experience with the objective of producing knowledge and new female images. The method employed was a qualitative research based on the symbolic approach proposed by analytical psychology, from which the technique of reading of films was developed as an analysis procedure. Analytical psychology served as a field of discussion on the paradigmatic deconstruction and dissolution of essentialisms, providing a substrate for a symbolic understanding of the impact of these images on identity construction in individual and collective contexts. The analysis of the main female characters of the movies Elena (2012) and Olmo e Gaivota (2014) emerged from a symbolic and historical understanding of their particular narratives, articulated with the collective and cultural images they evoked, revealing the presence of processes of identification and separation of their identities that were up to that moment fused to the female figures that have their origin in a broad cultural context and in a transgenerational transmission of conflicts in their family histories